[The episode commences with Mark sitting in a jail cell. He is there as a result of a bar brawl. He is fiddling with the friendship bracelet Charlie made for him. Indistinct messages come from the PA system. The scene switches to Olivia and Charlie driving to the beach. Olivia parks the car, gets Charlie out of her safety seat, and grabs a blanket. They walk on the beach.]
CHARLIE: Why are we stopping, mom?
OLIVIA: 'Cause we're just gonna sit here for a while.
CHARLIE: Okay.
[They watch the fireworks in the distance.]
CHARLIE: Oh, wow, look! That one shaped a star.
OLIVIA: Yeah.
OLIVIA: [points] Oh, look at that, mom.
OLIVIA: Yeah.
[The scene switches to Nicole sitting at Bryce's house. She is quite sad. After looking at the sketch of Keiko, she picks up her keys, stands up and leaves the house. The scene switches to the airport where Keiko is with her mother.]
MALE PA VOICE: Flight number 37 [fades]
KEIKO'S MOTHER: [in Japanese] Do you know where you belong? Home.
KEIKO: No. I belong somewhere else, with that man I saw.
[The scene switches to the Immigration Detention Center. Bryce is speaking with the desk guard who was reading a book.]
BRYCE: I'm looking for a Keiko Arahida. I believe she's being held here.
FEMALE IMMIGRATION GUARD: Was, she was released an hour ago.
BRYCE: Um, did, did she say where she was going?
FEMALE IMMIGRATION GUARD: Not in English.
[The guard continues to read her book.]
BRYCE: Well, do you have a phone number for her? Um, uh, there's gotta be some sort of intake file, right?
[The guard rolls her eyes as her reading is interrupted again.]
FEMALE IMMIGRATION GUARD: You got a warrant, officer?
[The guard picks up her book and starts reading. Bryce notices the title of the book. It is a pirate romance novel entitled, "Captain of the Lost Waves."]
BRYCE: Listen, this Keiko, I've never met her. But I saw her in my flash-forward.
[The guard stops reading and listens to Bryce.]
BRYCE: I-I started drawing her. I have twenty canvasses in my house of her. She was wearing this t-shirt of a sushi restaurant just outside of Tokyo, so I flew to Japan. I flew to Japan because of a t-shirt, but I didn't find her. I didn't find her, and I thought that was my only shot. I know that she's here in L.A., and now maybe you have a phone number. She changed my life just because I saw her.
[The guard thinks a moment.]
FEMALE IMMIGRATION GUARD: That was really your flash-forward?
BRYCE: Yeah, it was.
FEMALE IMMIGRATION GUARD: That's amazing. Because in my flash-forward [whispers] I had a hundred dollars in my pocket, and I couldn't figure out for the life of me how it got there.
[Bryce takes a step back, thinks for a moment then reaches for his wallet. The scene switches to Afghanistan. Aaron is leaning over Tracy's bloodied body.]
AARON: This isn't right. I saw her alive. So did you.
[Khamir lowers his head in grief. Aaron kisses Tracy's hand.]
AARON: I saw her.
KHAMIR: Okay.
[Khamir goes to Tracy's side to check her neck for a pulse. Surprised, he moves closer. He puts his head to her chest.]
AARON: A pulse?
KHAMIR: Yes, very faint.
[Khamir gets up to as Aaron stays with Tracy.]
AARON: Stay with me, Trace. I'm begging you, stay strong.
[Khamir returns with a wet cloth and dabs her forehead.]
KHAMIR: Okay.
AARON: Stay with me, Tracy. Stay with me, Trace, and we'll wind up where we're supposed to be.
National Linear Accelerator Project
Palo Alto, CA
[Demetri, Janis and Simon pull up in front of the NLAP building and park.]
SIMON: That's it.
[Using a pair of binoculars, Simon scans the grounds. A white car with NLAP on the side pulls up to a guarded gatehouse.]
SIMON: The La Honda Access Point. This is mile six of the accelerator's ten mile length. We get in there, I can get to the mainframe, find the software Hellinger's men had me install, and use it to destroy them.
[Simon takes apart and reassembles his cell phone then continues to watch with his binoculars.]
JANIS: You'll use it to help us identify them.
SIMON: Right, that's the deal.
[Simon assembles a small electrical device.]
SIMON: One of us needs to get this device close to the security's guard access card then itl’ll transmit it’s code to my cell phone.
DEMETRI: [sarcastically] Oh, okay. We'll just get the rig close to the security guard that we're trying to completely avoid. That sounds simple. Good stuff, Simon.
[Simon waves the small device.]
SIMON: This is gonna get us inside the gate. This is gonna get us inside everything.
JANIS: I know you don't trust him.
[Janis takes a deep breath.]
DEMETRI: I trust you. If you're here, I'm here.
[Janis winces.]
JANIS: Oh.
DEMETRI: What's the matter? What's going on?
JANIS: I don't know. Something's not right. I think I did it back in my apartment.
DEMETRI: Okay, we're going to the hospital.
JANIS: No, no, we have to do this tonight. We're not gonna get a second chance.
DEMETRI: Janis.
JANIS: The FBI's not gonna let him near that machine. Catching whoever is behind the blackout is more important than anything else. I need to do this. Please, do it for me.
[Demetri thinks for a moment then looks at Janis' belly. The scene switches to the cell where Mark is being held. Wedeck is escorted by an officer who unlocks the cell door. Wedeck enters the cell.]
MARK: [nods] Stan.
WEDECK: Don't tell me I won't regret doing this.
[Wedeck hands Mark his jacket, badge and sidearm.]
WEDECK: I already do. Let's go.
[Wedeck and Mark leave the cell and the officer closes the door.]
FLASHFORWARD
9:02 PM
[Mark is driving with Wedeck in a black SUV.]
WEDECK: Your snapping on Hellinger like that, I take some responsibility. I let it happen.
MARK: What the hell are you talking about?
WEDECK: We were so focused on finding when the next blackout is, I haven't seen what's be going on with you.
[Sirens are wailing in the background.]
MARK: Yeah, I've been meaning to talk to you about your priorities lately.
[Wedeck chuckles and his cell phone rings before he can respond to Mark.]
WEDECK: Wedeck.
AGENT: Sir, we've found two bombs in the FBI with timers. There are probably more.
WEDECK: Call in the bomb squad. I'm on my way.
[Wedeck closes his cell phone.]
WEDECK: Guess you're coming with me.
[Wedeck turns the SUV around and drives to the FBI building. The scene switches to the NLAP building. A light colored SUV pulls up to a guarded gate and beeps its horn. The gate opens and an armed guard approaches the vehicle.]
NLAP GUARD: Hands on the wheel. Hands on the wheel. Get out of the car slow.
[Janis is driving. She raises her hands and exits the vehicle.]
NLAP GUARD: Slow!
JANIS: I need help!
NLAP GUARD: Ma'am what are you doing here?
[Simon has his cell phone in place waiting for the transmission.]
DEMETRI: [whispers] What's taking so long?
SIMON: [whispers] Well, she has to get the reader closer.
JANIS: [weakly] Trying to find Pacific State Hospital on Old La Honda.
[Janis stumbles into the Guard while holding her belly.]
NLAP GUARD: Ma'am? Ma'am? Ma'am?
[Janis passes out. The guard helps Janis to the ground. The door buzzes, allowing Simon and Demetri to enter the building. Demetri pauses.]
SIMON: Come on!
DEMETRI: Wait, that looked real. I think she's hurting.
[The NLAP guard calls on his radio.]
NLAP GUARD: I need an ambulance at La Honda Access Point.
SIMON: He's getting her to a hospital, come on.
NLAP GUARD: La Honda Access Point.
[The scene switches to the beach. Olivia is holding Charlie who is wrapped in the blanket.]
CHARLIE: We should be home now. It's almost ten.
OLIVIA: Mm hmm. Well, we're not.
CHARLIE: So then, things can change?
OLIVIA: Mm hmm.
CHARLIE: Dylan!
[Olivia turns to see Dylan and Lloyd.]
CHARLIE: What are you doing here?
DYLAN: Hi, Charlie.
OLIVIA: Uh, sweetie, why don't you take Dylan to the car and go get him a juice box?
CHARLIE: Okay.
[Charlie and Dylan go to the car.]
CHARLIE: Come on, Dylan.
OLIVIA: How did you find us?
LLOYD: Uh, well, actually, um, my people called your people.
[Olivia looks over and sees the FBI men who are guarding Olivia and Charlie.]
OLIVIA: The bodyguards?
LLOYD: In my flash-forward, I think I was on the verge of, of figuring out something really crucial, but I think for that to happen, I have to be at your house.
[Olivia looks away from Lloyd indignantly.]
LLOYD: I have to recreate those conditions.
[Olivia reaches into her pocket and takes out her keys.]
OLIVIA: I tell you what, [hands keys to Lloyd] why don't you let yourself in and you recreate all the conditions you want.
LLOYD: Listen to me, listen. You're part of it, you and Charlie. It's like It's like Gabriel said, you're part of the puzzle.
OLIVIA: How, exactly?
LLOYD: I don't know. I just know that you are.
OLIVIA: This is bigger than you and me. We can't stop it. I've tried. Mark pushed me away to save the world.
LLOYD: No, I can't push you away. Don't you understand? I can't do this alone.
OLIVIA: Maybe you should.
LLOYD: [pause] You're part of the equation and I cannot do it without you.
[The scene switches to Bryce leaving the Immigration Detention Center.
[His cell phone beeps. He looks up and sees Nicole.]
BRYCE: What, uh, what are you doing here?
NICOLE: Did you find her?
BRYCE: They just released her. I got a contact number for her. It's um, it's the restaurant where I saw her in my flash-forward. Turns out it's in L.A..
NICOLE: It's all coming true for you.
[Bryce exhales deeply.]
NICOLE: Look, Bryce, I, I, I just wanted to say that I'm sorry. You know, she flew all the way across the Pacific Ocean just to meet you and I [pause] I tried to keep you apart.
BRYCE: No, I'm sorry. This whole thing is my fault. I'm sorry. I've been ignoring the truth, the feelings that I had. I know it sounds crazy, but I love her. This whole thing with her was meant to be.
[Bryce grabs his opened jacket.]
BRYCE: I mean, I put these on this morning without a second thought. It wasn't until a half hour ago that I realized [pause] this is what I was wearing in my flash-forward. I gotta go.
[Nicole tries to break a smile and not cry.]
NICOLE: Yeah, you should go.
[Bryce walks past Nicole and leaves her standing alone. Nicole tries to maintain her composure but the hurt is shown on her face. The scene switches to the airport. Passengers are putting their carryon luggage on conveyer belts for their contents to be checked. People are also being checked for metal and illegal items.]
FEMALE PA VOICE: All liquids, gels and aerosols must be in 3 ounce or smaller containers.
[The PA Announcer starts speaking in a foreign language. The male ICE agent that arrested Keiko, observes as Keiko and her mother are awaiting their turn so they can proceed through the checkpoint then to the gate of their plane. Keiko's mother looks around as her daughter puts her jacket and guitar on the conveyer belt. She takes her saddened daughter's hand.]
KEIKO'S MOTHER: [in Japanese] Be careful.
[Keiko looks at her mother.]
KEIKO'S MOTHER: [in Japanese] Be careful when you run to find that man.
[Keiko's mother takes her tote from the conveyer and hits the ICE Agent in the face with it. He falls to the ground. Chaos ensues.]
KEIKO'S MOTHER: [in Japanese] I am not going anywhere! I will make a nuisance of myself!
[She starts turning in circles and continues yelling in Japanese. Keiko watches. The ICE Agent gets to his feet and reaches for her.]
KEIKO'S MOTHER: [in Japanese] I demand your attention!
[She is grabbed around her waist by the ICE Agent. More agents run to assist him.]
KEIKO'S MOTHER: [in Japanese] Everyone look at me!
[She grabs another item from the conveyer as Keiko crawls underneath it.]
KEIKO'S MOTHER: [in Japanese] I am a Japanese citizen!
[Keiko takes her jacket and guitar then slowly leaves the checkpoint area.]
KEIKO'S MOTHER: [in Japanese] Let go of me!
[Keiko's mother continues to yell in Japanese. Keiko walks under strap that cordons off the area and leaves the airport. Her mother has created the desired distraction so she may go find Bryce. The scene switches to the FBI building. Sirens are wailing as armored vehicles surround the site. Mark and Wedeck are still in their vehicle.
MARK: No, no, no, no, no, hear me out, wait, hear me out. Whoever put those bombs in there is targeting something specific. So we need to figure out what.
WEDECK: So help me, Mark, all the glorious choirs of heaven, if you step out of this car, I will have your head on a plate.
[Mark sits back in his seat, not pleased by Wedeck's instructions.]
WEDECK: I'm gonna send over a driver. Stay in the car.
[Mark looks out the passenger window. Wedeck exits the vehicle. Sirens and people speaking indistinctly are heard in the background.]
WEDECK: You need a friend, so I tracked him down for you.
[Wedeck dials a number and his cell phone and hands it to Mark.]
WEDECK: Someone to keep you company while you wait.
[Mark takes the phone. The call connects to Aaron who is still in Afghanistan, sitting next to Tracy.]
AARON: Hello?
MARK: Aaron, it's Mark. Where the hell are you?
AARON: Listen, I'm okay, buddy, but I talk to Wedeck and I need to know what's going on with you?
MARK: I don't know. I just kind of lost it and then [pause] and then I started to drink.
AARON: You know [pause] sometimes what happens in the world makes us forget it's all up to us. We have choices, you, me, Tracy.
[As Aaron and Mark talk, the scene switches back and forth from Afghanistan to the evacuation of the FBI building.]
AARON: You choose what's next and you'll wind right where you're supposed to be.
[Hellinger is being escorted from the FBI building by 3 agents, 2 armed with rifles. He and Mark make eye contact.]
AARON: Take care of yourself, Mark.
MARK: Okay.
[Mark closes the cell phone and gets out of the vehicle against Wedeck's instructions and pauses to look at the FBI building. He has chosen a spot that will cross paths with Hellinger.]
HELLINGER: Agent Benford, been celebrating?
MARK: [smiles] A little, had to get back to the office, though, loose ends.
HELLINGER: There's nothing to see up there, Mark. It's a fool's errand.
MARK: Last time I listened to you, I took my eyes off of the prize. [smirks] Not gonna happen again.
[Hellinger glares at Mark.]
MARK: I have to go, got a little errand to run.
[Mark walks away from Hellinger who then turns his head, looks at two men in SWAT gear and nods. One of the men uses his hand radio then speaks to the man with him. They pick up large duffle bags and nonchalantly walk into the FBI building. Hellinger continues to walk with his escorts. The scene switches to the Benford residence. Olivia, Charlie, Dylan and Lloyd enter the house.]
9:32 PM
CHARLIE: I have a new goldfish named Sadie.
DYLAN: Can I see it?
CHARLIE: Come on, it's upstairs.
DYLAN: I want cookies after.
LLOYD: Dylan, that's not how we ask.
OLIVIA: It's okay.
CHARLIE: Mi casa es su casa. That means my house is your house, too.
DYLAN: It's my house, too.
CHARLIE: I’ll let you feed Sadie. Come on.
[Charlie and Dylan are upstairs. Olivia and Lloyd can speak freely.]
OLIVIA: So.
LLOYD: So.
[Olivia checks her watch.]
OLIVIA: Uh, 9:33. Twenty seven minutes till your epiphany.
LLOYD: Yeah, uh, [pause] okay, uh, I think I'd better get to work.
OLIVIA: All right.
[Lloyd sits on the sofa and puts his attaché and laptop case on the coffee table in front of him.]
OLIVIA: So how, how does this work? We just take our positions at 10:00, wait for your breakthrough?
LLOYD: Yeah, I think I'll keep my shirt on this time.
OLIVIA: Okay.
[The scene switches to the accelerator control room at the NLAP building. Simon uses his electrical device to unlock the door. As Demetri tries to enter, the door closes.]
SIMON: What the hell?
[Demetri tries to prevent the door from closing but is too late.]
SIMON: I don't know what happened.
DEMETRI: Open this door.
SIMON: I don't know what happened.
DEMETRI: Now, Simon!
SIMON: Wait, let me just, I don't know what happened.
[Simon presses buttons on the keypad next to the door.]
DEMETRI: I knew you'd try to pull something, you sociopathic, lying son...
[The door opens. Simon flips his hands in the air.]
SIMON: You're welcome. Come on in.
[Demetri slowly enters the room, never breaking eye contact with Simon.]
SIMON: Your friend asked you to trust me.
DEMETRI: Janis wanted me to help you. I do not trust you.
[Simon reaches into his jacket pocket and takes out the QED ring he stole from the FBI vault and shows it to Demetri.]
SIMON: This is the last piece of leverage I have left.
[Simon hands the ring to Demetri who takes then inspects it.]
SIMON: And now you have it. Let's get to work. Shall we?
[The scene switches to the FBI building where evacuation is in progress. The whirring of helicopter rotors is heard. People are scattering on the campus.
BOMB SQUAD MEMBER : Confirming devices on floors five, six and ten, over.
MARSHALL VOGEL: You got a det time?
BOMB SQUAD MEMBER : Affirmative, thirty six minutes and counting.
MARSHALL VOGEL: Copy that.
[As Vogel is exiting the building he crosses paths with Mark who is entering the building.]
MARK: What's the update?
MARSHALL VOGEL: Bombs, Mark. We've located them on at least five floors.
MARK: This is bigger than Hellinger.
MARSHALL VOGEL: Yeah, he's just a link in the chain. They're coming after MOSAIC.
[Mark doesn't reply and continues to walk past Vogel.]
MARSHALL VOGEL: Are you about to do what I think you're about to do?
[Mark pauses.]
MARSHALL VOGEL: Your chances of making it out of there are not good.
MARK: I need you to do something for me. If they're coming after MOSAIC, Lloyd Simcoe's not safe, either. Now I got this covered.
MARSHALL VOGEL: I'll secure Simcoe.
MARK: You can find them at...
MARSHALL VOGEL: [interrupts] your house. It's what I saw. It's , it's where I'm going, right?
MARK: Right. Lock it down.
MARSHALL VOGEL: You should know I also saw myself telling another agent you were dead.
[Mark thinks for a moment then responds.]
MARK: Lloyd Simcoe's key. We need him alive.
MARSHALL VOGEL: Same goes for you.
MARK: I'll keep that in mind.
[Mark continues through the parking garage as Vogel exits. The scene switches to the bedroom of the Benford residence.]
CHARLIE: Mom, come here!
[Olivia and Lloyd enter the bedroom. Dylan is writing equations on the mirror with red lipstick.]
LLOYD: My God.
CHARLIE: He got into your lipstick and just started writing.
LLOYD: It's the formula in my flash-forward. This is what I saw.
OLIVIA: How is that possible?
[Dylan has stopped writing and is standing in front of the mirror.]
LLOYD: I always assumed I'd written it. [pause] I guess Dylan must have memorized it this afternoon.
CHARLIE: Is he in trouble?
OLIVIA: No.
DYLAN: Can we get cookies now?
OLIVIA: Sure, uh, Charlie, why don't you take Dylan downstairs and show him where they are?
CHARLIE: I will but he already knows. Come on, Dylan.
[Dylan and Charlie leave the bedroom. Olivia sits on the bench at the foot of the bed.]
OLIVIA: So what is this? What does it mean?
LLOYD: This equation somehow links the Q.E.D., the blueprints and the flash-forward all together.
OLIVIA: But it's a math problem, right? How would it possibly tie all those things together?
LLOYD: It's the tachyon constant. It's the greatest mystery in all of quantum physics.
[Lloyd sits next to Olivia on the bench, never taking his eyes off the mirror.]
LLOYD: And now I have to solve it [pause] right now.
[Olivia and Lloyd stare at the mirror. The scene switches to the FBI building where Mark is still in the parking garage. He quickly walks in the opposite direction of everyone else.]
BOMB SQUAD MEMBER : Evacuate the entire building.
[Four bomb squad members see seven men with bomb squad gear.]
BOMB SQUAD MEMBER: Clear, blue team! Clear!
[Concurrently, the seven men put their duffle bags on the ground, open them, take out automatic rifles and shoot the legitimate bomb squad members. They put down their rifles, take out masks, put them on, pick up their rifles and continue on their mission, in unison, stepping over the dead bodies as if they were just rocks. The scene switches to the hospital where Janis is being wheeled into the emergency room. She is using an oxygen mask to assist her breathing.]
FEMALE DOCTOR: I've been waiting for you.
JANIS: I'm really happy to see you.
FEMALE DOCTOR: Everything's going to be okay.
[The blonde haired doctor is the same woman that was giving Janis an ultrasound in her flash-forward.]
FEMALE DOCTOR: That's what we saw, right?
JANIS: I haven't felt her move in three hours.
FEMALE DOCTOR: We're gonna get you an ultrasound.
[The doctor nods to one of the EMTs who is wheeling Janis in.]
FEMALE DOCTOR: Ready.
[As Janis is taken for her ultrasound, the scene switches to the FBI plaza.]
WEDECK: He's where?
AGENT VREEDE: He's in the building with the bombs [pause] where I left my car keys.
WEDECK: We've got twenty three minutes until the building goes. We gotta get Benford.
[Vreede nods and the two men go inside. The scene switches back to the Benford residence. Lloyd and Olivia are still staring at the mirror with the equation on it.]
OLIVIA: The answers will come.
LLOYD: You sound so certain.
OLIVIA: At 10:00 PM the answers will come, because they will. It's not about equations. It's not about the two of us just, physically being here. It's about this moment [pause] right here. I fought it and resisted it, and yet here it is. It happened. The future happened.
[Lloyd takes Olivia's hand.]
LLOYD: All of it.
[Olivia leans in and kisses Lloyd. They kiss passionately. The scene switches back to the FBI building. Wedeck and Vreede are running up stairs with their sidearm at the ready. They hear gunfire and lean against the wall in the stairwell.]
AGENT VREEDE: Somebody means business.
WEDECK: Yeah, you got that right.
[The sound of a door closing is heard.]
WEDECK: You want up or down?
AGENT VREEDE: Down.
WEDECK: Go for it. I got you covered.
[Vreede starts down the stairs as Wedeck goes up then leans over the arm rail looking down. Switch to Mark's office where he is standing in front of his board, nodding.]
MARK: I'm exactly where I'm supposed to be.
[The scene switches to a Japanese restaurant. Bryce is trying to gain entrance. He has a small bouquet of flowers.]
RESTAURANT MANAGER: I'm sorry. You can't come in.
BRYCE: Please, please, I'm supposed to meet a woman here.
[Bryce looks at the back wall and sees the same blue and orange fish mural that he saw in his flash-forward.]
BRYCE: I learned Japanese. [in Japanese] I will sit by myself. If she's not here at 10:02 I will leave. I promise.
RESTAURANT MANAGER: [in Japanese] Maybe you can understand me better in this language. We are having a private party. We can't even let one person in.
BRYCE: Please.
[The manager attempts to close the door again and is interrupted by one of the waitresses.]
WAITRESS: [in Japanese] Keiko's man! What are you doing? Let him inside!
RESTAURANT MANAGER : Welcome.
BRYCE: Thank you.
[The scene switches to a taxi stuck in traffic. Keiko is the passenger in the back seat.]
KEIKO: Try a different street, please.
TAXI DRIVER: When I can get to one. I mean, the traffic's nuts.
[Keiko looks at the clock on the dashboard. It is 9:53 PM.]
KEIKO: Okay.
[Keiko takes money from her pocket, hands it to the driver, takes her guitar and jacket then exits the taxi.]
KEIKO: I need to go. Thank you.
[The scene swtiches to a dark road as Nicole drives her car. She is crying. A car approaching from the opposite direction honks at her. She swerves to avoid the car, crashes through a wooden fence and into a lake and her car sinks.]
9:55 PM
[The scene switches to a busy street full of cheering people.]
ANNOUNCER: All right, everybody, it’s almost 10:00, five more minutes till we catch up to our future!
[The scene switches to the NLAP accelerator control room.]
DEMETRI: You installed the software. Now you can't find the file?
SIMON: I'm just not seeing it yet. Beer?
DEMETRI: Beer?
[Simon walks to a refrigerator and takes out two long neck bottles of beer.]
SIMON: Helps me cogitate.
[Simon hands one bottle to Demetri.]
SIMON: You know, Janis is gonna be okay.
DEMETRI: How do you know?
SIMON: She saw it in her flash-forward.
[Simon takes a drink from his bottle.]
DEMETRI: All right, let's get going. Someone could walk in here any second.
[Simon sits at a console. The clock on the walk reads, 9:57:34.]
DEMETRI: It's almost 10:00.
[Simon inputs data.]
SIMON: I'm supposed to send Lloyd a text.
[Simon takes out his cell phone and begins a picture message and sends it.]
DEMETRI: What is that, math?
SIMON: It's an equation for a damped 1-dimensional wave. It was Lloyd's e-mail signature for years, a damped wave. He used to call it his "tearful good-bye."
DEMETRI: It's cute. What's that, physics humor?
SIMON: Well, I'm supposed to send him something. He saw it [pause] an inside joke for an inside joke.
[Simon looks up at the clock. It now reads, 9:59:34. The scene switches to the crowded street.]
ANNOUNCER: 4-3-2-1! It's 10:00, everybody!
[The crowd continues cheering. Keiko is running to the restaurant as Bryce patiently waits. Nicole, unconscious, is sinking in the lake after her car crash. In Afghanistan, Tracy slowly opens her eyes as Aaron watches her. Janis is having an ultrasound, as she holds the doctor's hand. Lloyd's cell phone beeps.]
LLOYD: It's the text from, from Simon.
[Lloyd checks the message.]
LLOYD: A wave [pause] good God. I have to make a call.
[Lloyd kisses Olivia and leaves the room. Marks cell phone rings in his office and he answers it.]
MARK: [scoffs] Yeah.
LLOYD: It's me.
MARK: Did you crack it?
LLOYD: Look, the constant I've been looking for, it isn't a number. It's a wave. If I plug the wave into the blueprint equation, I get an interval which, if added to the previous blackout, tells us...
MARK: Tells us what, Lloyd?
LLOYD: As precisely as I can tell, the next blackout is sometime in April 2010, which means it's in the next two days.
[Mark looks at the desk calendar page for Thursday, April 29.]
LLOYD: Mark? Mark? Are you still there?
[Mark walks to his board.]
MARK: April? April? 2010?
[The scene switches to Keiko rushing into the restaurant. She looks around and finds Bryce, sitting alone. She slowly approaches the table and they look at each other. The scene switches to the lake. A man's face is seen through the water as he pulls Nicole to safety. The scene switches to the hospital room where Janis is having her ultrasound. The monitor beeps.]
FEMALE DOCTOR: The baby's fine. Good heartbeat but it's a boy.
JANIS: [surprised] It's a boy?
FEMALE DOCTOR: [nods] You disappointed?
JANIS: No, just surprised.
FEMALE DOCTOR: Future's like that.
JANIS: Yeah.
[The scene switches to the Benford residence where Olivia is at the top of the staircase looking down at Lloyd who looks up at her. The scene switches to the FBI building where Vreede is chasing one of the masked men down a stairwell. They are exchanging gunfire. Vreede stops at a keypad, inputs data, a door opens and he runs through it. Wedeck is in another area of the building exchanging gunfire with another masked man. He opens a door to find himself inside the men's room. He enters a stall and sits over the commode with his feet raised so as to make the stall appear unoccupied. The scene switches back to NLAP.]
DEMETRI: God, we're almost through this thing. Finally go back to the way things used to be [pause] when the only stuff we see is what's right in front of us.
SIMON: Welcome to the future.
[The scene switches to Mark's office. He is inspecting his board.]
MARK: Who did this? The strings are different, they moved. Gabriel?
[A flashback to Gabriel re-arranging the strings on Mark's boards is shown followed by showing Mark and Vreede his notebook.]
GABRIEL: Make it look right. You make it look right.
[Return to Mark looking around his office for Gabriel's notebook.]
MARK: [whispering] Gabriel, Gabriel.
[Make tosses the top of a box and rifles through it.]
MARK: Gabriel, Gabriel, Gabriel.
[Mark finds the notebook, returns to his board and opens the book to Gabriel's version of the board. He looks at the red lines and follows them on his board. At each pushpin is a clue. Mark follows the lines and reads the clues aloud.]
MARK: April. Black. [circled on personal information sheet.] Out. [circled on interdepartmental address envelope] "T" [under the T in October] "E" [under the E in evidence] "N" [on the N in Friendship] "F" [under the F in February] "O" [under the O in MOSAIC] "U" [under U in Resources] "R" [under the R in Nhadra] "T" [under the T in Photograph] "E" [under the E in Evidence] "E" [under the E in Event] "N" [under the N in Serpent] P.M. [under hours of operation]
[The end points of the strings reads, April 29 Black Out ten fourteen P.M.]
MARK: April 29th, 10:14. The blackout, it's in twelve minutes.
[As Mark reaches for his cell phone he is interrupted by the sound of the elevator bell. The elevator door opens and three masked men exit with their rifles at the ready. Red laser site lines are seen. Mark cocks his handgun. The three men are outside of Mark's office. The scene switches to the NLAP accelerator control room.]
SIMON: The command system won't let me access it. What was it you said earlier? Now the only thing we can see is what's right in front of us?
[Demetri sits in a swivel chair watching Simon. On the monitor in front of Simon is part of the circles and other data. To the right is Project 9.3.3.4.3 Sequence 4.3.3 and other lines of information.]
SIMON: Whoever did this may have copied the entire mainframe, created some kind of clone.
DEMETRI: Wait, so what you're looking at is a...
SIMON: A fake designed to prevent me from getting in. They knew I'd be back. Remember me? Now all I have to do is backdoor into my archived account, compare the system, compare the code...
DEMETRI: I have no idea what you're talking about.
[Simon depresses plugs a small storage device into the console.]
SIMON: [smirks] Bye-bye.
DEMETRI: You got it?
SIMON: I'm downloading it for you now. I don't know who you work for, Mr. Hellinger, but whoever they are, they won't be very happy that you didn't prevent this, not at all.
[Simon removes the storage device.]
SIMON: Done, whatever you'll need to track the bastards is in here.
[Simon hands the device to Demetri. The scene swtiches to the Benford residence where Charlie walk to the sliding doors and looks at the fireworks. She sees Vogel ending a phone call and speaking with another agent. Olivia joins Charlie and sees the men outside.]
OLIVIA: Okay, sweetie, go, go, go play with Dylan.
[Charlie leaves and Olivia looks out at Vogel and the agent.]
MARSHALL VOGEL: Mark Benford is dead. He ran into the building, doesn't have a chance.
[The scene switches to outside Mark's office. The three men walk slowly and have their rifles ready. One man has a tattoo of three stars on his left forearm. They scout the office looking for their target. A cell phone rings on Mark's desk and all three men unload their rifles at the office and board, decimating it. The scene switches to Nicole's crash scene. Out of the water, she is being comforted by her rescuer. She is dazed and still coughing.]
YOUNG MAN: Okay, hey, hey, hey, hey, hey. Are you okay?
[Nicole slowly sits up.]
YOUNG MAN: Be careful.
NICOLE: What happened?
YOUNG MAN: You went off the road into the lake. I-I wasn't even sure you were with us. Then I pulled you out of the car and you started fighting me.
[He pulls a blanket around Nicole.]
YOUNG MAN: Hey, come on. Hey, you must be freezing, here, [rubs her arms] there.
[Nicole starts coughing again. He puts his arms around her and comforts her.]
YOUNG MAN: Hey, it's okay. It's okay. In my flash-forward, I [pause] I saw myself saving you. And all these months [pause] I thought maybe I failed. I'm, uh, I'm really happy that I didn't.
NICOLE: You saw me?
YOUNG MAN: Yeah. Okay, an ambulance is on its way, okay? Hey, my name's Ed.
NICOLE: Nicole.
[The scene switches to the NLAP accelerator control room. The monitor starts beeping and the smirk is gone from Simon's face. He looks closer at the monitor.]
DEMETRI: What?
[Simon groans and starts typing.]
DEMETRI: What is it?
SIMON: Someone's accessing the mainframe from outside.
DEMETRI: What does that mean?
SIMON: It's a different command system originating off-site. They have control.
[Simon starts typing feverishly.]
AUTOMATED FEMALE VOICE: Commencing activation sequence.
[Alarms start blaring as the accelerator starts up. Lights of various colors are beginning to blink. Demetri watches through the window into the accelerator tunnel. Simon stands and watches also. Lights are flashing, steam is being vented. Switch to what is left of Mark's office in the FBI building. One of the masked men checks to if anyone is still in there, dead or alive. Mark is crouched down next to a pillar. As soon as one of the men passes him, Mark grabs his around the neck and pumps several rounds from his gun into the man's back. The restrained man has his finger set on the trigger of his weapon and as it fires, Mark turns the man's body and one of h is partners is shot in the chest. Mark disarms the man he is holding and looks for the third man. The scene switches back to NLAP.]
DEMETRI: What have you done, Simon. Get away from there.
[Simon looks at Demetri, ignores him and goes back to work. Demetri cocks his handgun and aims at Simon.]
DEMETRI: Put your hands up! Now!
[Back at the FBI building, Mark exits his office area pumping rounds from the rifle as two more masked men start shooting at him. He shoots one of them and exits into a corridor. The men continue to follow Mark. He stands behind a small section of an office wall catching his breath. Switch back to NLAP.]
DEMETRI: You lying son of a bitch.
[Another alarm blares and Demetri shoots it to make the noise stop. Simon stands up and screams at Demetri.]
SIMON: Hey, I didn't do this, Demetri, not then and certainly not now! I'm not going to let them do this to me, Demetri. I won't let them turn me into a monster, to use my machine, my mind. Millions of people, Demetri, millions of people don't deserve to die. Know what? [sits at console] You want to stop me? You want to stop me from doing what I'm doing, which is trying to shut down this machine, then you're gonna have to shoot me.
[Demetri lowers his weapon. Back at the FBI building, one of the masked men slowly enters the men's room. Wedeck is sitting inside a stall with his feel braced against the side door supports, and his gun aimed straight ahead. He hears the man walking outside then closing the door. Wedeck kicks out the stall door and shoots several rounds into the man's chest. Back on the floor where Mark's office used to be, a masked man walks slowing, the red light from his laser site glows a bright red line of light across the area. As Mark is crouched on the floor, he looks up and sees the timer on one of the bombs. It continues to tick down from 8:10, 8:09, 8:08, and 8:07. Mark looks over his shoulder, sidles around a corner and spots 3 masked men ahead of him. He slides over and presses the elevator button. The three men turn to the elevator when the bell rings and the doors open. They unload their rifles into the empty car. Mark runs up the steps, attacks from behind them yelling as he opens fire taking out both men. The elevator door attempts to close but is blocked by the head of a dead man. Mark slowly backs down the steps and reloads the rifle. He picks up a phone with his free hand only to see that the phone base has been blown apart. He runs back up the stairs. In the stairwell, Wedeck is walking down the steps. His cell phone rings.]
WEDECK: Yeah?
MARK: It's Mark.
WEDECK: You're still in the building?
[Mark is sitting on the floor leaning against the outside of a cubicle wall with the phone dangling over the wall.]
WEDECK: Get the hell out now!
MARK: The next blackout, I figured it out, Stan. It's gonna be at 10:14 P.M. Pacific tonight. Call the White House, EBS, NTSB, everyone.
WEDECK: This place is about to go in three minutes. Move now!
MARK: [whispers] Make the call, Stan.
[Wedeck closes his cell phone. He exits the building as he makes a phone call.]
WEDECK: Assistant Director Stanford Wedeck. Yes. Put me through to the White House, now!
[Inside, Mark presses the receiver button and makes another phone call as two masked men enter the cubicle area. The scene switches to an aerial view of the White House. Helicopters are in the flying close by.]
FEMALE ANNOUNCER: Credible information that another global blackout will hit in minutes.
[Reporters are speaking concurrently in different languages. The scene pans from the White House to the Eiffel Tower to another harbor. At the Benford residence, Olivia sits at the bottom of the stairs in her house, clutching her cell phone. It finally rings.]
OLIVIA: [exhales deeply] Mark!
MARK: [whispers] Livvy, listen very carefully. The next blackout's about to happen. Take Charlie, get her somewhere safe. It's gonna happen in about two minutes. Tell her I love her. I love you both.
OLIVIA: Please be safe, Mark.
MARK: Good-bye, Livvy.
[At the NLAP building, Demetri checks his phone and reads the following message.]
DEMETRI: President Segovia has issued an evacuation order in light of credible reports that another global blackout will hit. He's urging immediate steps to be taken to ensure public safety and is appealing for calm.
SIMON: You might want to put that ring on.
DEMETRI: You know what? I didn't see my future the last time around. I'm not gonna miss it this time. You want it?
[Demetri places the ring down on the console. The alarms and flashing in the accelerator control center and tube increase.]
SIMON: I've seen my future. This is it, right now.
[At the FBI building, one of the masked men notices the phone hanging over the wall. He enters the cubicle and starts firing on the other side of the wall. He turns at the sound of a gun being cocked. Mark is standing behind him.]
MARK: What did you see?
[Mark pumps a round into the masked man who looks at the ceiling as he falls. Mark looks up to see another bomb and the timer is counting down from 38 seconds. Mark drops the rifle and starts running as fast as he can. Back at NLAP, Simon is yelling at Demetri.]
SIMON: You might want to sit down for this one.
[The beeping in the control center increases in speed. Demetri sits next to Simon and watches the accelerator tube.]
SIMON: Ready?
[The accelerator starts up. Lights flash brighter. As the speed increases, sparks fly. At the FBI building, Mark is running down stairs inside the atrium. Switch back to NLAP.]
SIMON: Hang on!
DEMETRI: I am!
[The light inside the accelerator glows white. Switch to the FBI. Mark jumps down the last three steps and runs toward the outside windows. He sees a helicopter hovering outside the window. At NLAP, Demetri holds on for dear life.]
SIMON: Just hang on!
[The paths of the particles glow blue and orange inside the accelerator then explode into the brightest white light. Simon looks around the control center. At the FBI building, Mark is headed for the wall of windows as fast as he can. At NLAP everything is shaking. As Mark falls forward the blackout commences. The following is what is shown.]
The planet Earth. People speaking at once.Flash of multi-colored lights. Asian man standing in front of prison bars. Partial face.A baby. Woman giving birth. Girl on a swing.Boy on a swing.Kangaroo. Blue banner reading Happy New Year 2015.A teenage blonde haired girl smiling.A revolver with the chamber open.Hand clenching bullets. Young lady smiling.
["The Funeral" by Band of Horses plays in the background.]
I'm coming up only to hold you under,
I'm coming up only to show you wrong.
Ooooh-ooooh
Really too late to call
So we wait for morning to wake you,
That's all we got.
To know me as hardly golden,
Is to know me all wrong, they warn.
At every occasion, I'll be ready for the funeral.The planet Earth. Cathedral plaza with stopped vehicles, people lying on the ground unconscious. Red Square in Moscow with unconscious people on the ground. Airport with flight listings all cancelled and people unconscious on the floor. Chihuahua, still on a leash, walking around the silenced airport. Outside the FBI building, fire truck, humvee and all other vehicles are stopped. All personnel are lying on the ground unconscious. Soldiers and firemen sitting and leaning against the FBI sign outside the building. Soldiers have the weapons in hand. The Taj Mahal with people lying on the ground unconscious along the plaza. Bryce and Keiko lying on the booth seats in the restaurant, unconscious and holding hands under the table. The planet earth. Silver spoon scooping water for a baptism. A baby's face. A baby of color being baptized. Boy on a swing wearing a beige and white print shirt and jeans.Clear shot of the blue banner reading Happy New Year 2015.A child's hand on a box gift wrapped in red with a green ribbon. The child is wearing a plaid top. Doctor looking at an x-ray. Radiology tag JK-86555521313 September [blurred] F. Walsh Patient # W-587445633 DOB 10/23 Dr. Johnson X-Ray # 14478 Reason for Radiograph: Chest.A person signing a document surrounded by 3 people, all blurry..Executor of this will.Revolver being held with chamber open and being loaded with hollow point bullets.[size]People lying on the ground unconscious outside an apartment building. Medical personnel and other people, lying on the floor or leaning against the wall in a hospital corridor. Janis, unconscious in a wheelchair in the hospital corridor being pushed away by Lita who is wearing a QED ring. Two policemen unconscious in a stopped car. Kangaroo hopping by on the street. A person handing another person a keychain with dice on the end. Teenage girl standing and looking out a window. Person opening a letter dated, March 14, 2011. Teenage girl standing and looking out a window. Man putting a wedding band on a woman's left ring figner. Revolver being held with chamber open and being A baby of color being baptized. Gun being loaded with hollow point bullets. Boy on a swing. Clear shot of the blue banner reading Happy New Year 2015. Doctor looking at an x-ray.. A person signing a document surrounded by 3 people, all blurry..A person handing another person a keychain with dice on the end.A child's hand on a box gift wrapped in red with a green ribbon. The child is wearing a plaid top. Teenage girl standing at the window. Face of the teenage girl at the window.
[As the flashes come to an end the girl walks from the window. There is another flash of her standing at the window. A man speaks to her and she turns around.]
MAN: Charlie, what is it? You gotta tell me.
CHARLIE: They found him.
[The blackout has ended and Charlie opens her eyes and gasps. She is on lying on the sofa, being held by Olivia who is lying next to her. Lloyd and Dylan are lying on the other sofa in the same fashion. They are slowly waking up. The scene switches to outside the FBI building. It bursts into flames as the bombs detonate.]
[END]
