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Transcript Transcript Transcript

Prologue Edit

The Verdict Edit

(Four weeks before the GBO. Bryce is meeting with an oncologist.)

DOCTOR: See there, there... And there. It's metastasized. To the liver.

BRYCE: And no sign of it in the lungs or bones?

DOCTOR: No. Look, we hoped this treatment would have stopped the growth. It doesn't seem to have had an effect.

BRYCE: What about hormone therapy?

DOCTOR: Bryce, you're stage four. It's not likely to do much except make you feel lousy.

BRYCE: I... I feel all right now.

DOCTOR: That's not atypical for this type of cancer. I'm gonna be straight with you, Bryce. We're running out of options. We could try another round of chemo. I have patients at this point who have gotten into clinical trials.

BRYCE: How long have I got?

The Accident Edit

(Bryce walks down the center of the driving lane in a parking garage. The driver of a car waits then finally drives around him.)

UNIDENTIFIED DRIVER: Oh, come on!

(Bryce enters his SUV and backs out of his parking space, striking a Ford Thunderbird. Bryce simply sits where he is; the T-Bird driver exits his vehicle and begins yelling at Bryce.)

AGENT GUY: Hey! What the hell are you doin', man? Didn't you see me there? Hello? Hello? Pal, I'm talking to you.

(Bryce begins a series of maneuvers in which he backs into the Thunderbird.)

AGENT GUY: Whoa, what are you doing? Hey! Oh, come on! No, no, no, no, no! Oh! All right. Come--come on! What are you, nuts? You made your point! This is a Cherry '63 T-Bird!

AGENT GUY: (into cell phone) Oh! Yeah, yeah, yeah. I want to report a hit and run. (pause) He's still hitting me! (to Bryce) You made your point! All right. Okay. Okay.

(Bryce exits his SUV and walks toward the T-Bird driver.)

AGENT GUY: It's all right.

(Bryce veers away from the other driver and appears to be walking toward the parking garage exit.)

AGENT GUY: You are so dead, man. You hear me? You're dead!

Act I Edit

A Job Interview Edit

(Two weeks before the GBO)

(Entire conversation is in Japanese.)

(Keiko is waiting in a restroom.)

Jiro: Araida Keiko San?(アライダケイコさん?―Keiko Arahida?)

KEIKO: Hai?(はい?―Yes?)

Jiro: Hayaku shite!(早くして!―Hurry up.) Mou minna matteru kara(もうみんな待ってるから―They're waiting for you.)

KEIKO:Suimasen(すいません―Sorry.)

(Keiko is being interviewed in a meeting room.)

KEIKO: Jyudai no koro ni robot hand wo tsukuttemita koto ga arimashita(十代の頃にロボットハンドを作ってみたことがありました―I started by trying to build a robotic hand as a teenager in my parents' house. )

Sore wa karoujite servo bubun ga sadousita teido no mono deshita ga(それはかろうじてサーボ部分が作動した程度のものでしたが、―I barely got the servo part working, but )sonokoto ga kikkake de mucyu ni narimashita(そのことがきっかけで夢中になりました。―it was a start. I was hooked.)

Tokyo daigaku dewa kikaikougaku de gakushigou(東京大学では機械工学で学士号、 ―I got my undergraduate degree as a mechanical engineer at the University of Tokyo. )sorekara bio iryoukougaku to robot kougaku de syushigou wo syutokushiteorimasu(それから・・・バイオ医療工学とロボット工学で修士号を取得しております―Then a masters degree in bio-medical engineering and robotics.)

INTERVIEWER: Sorede sonkeisuru hito wa dare desuka?(それで・・・尊敬する人は誰ですか?―Well,so who are your role models?)

KEIKO:Arikitari dewa arimasu ga(ありきたりではありますが、― The usual suspects. )Curie hujin to Jane Goodall to(キュリー夫人とジェーン・グッドオールと・・・―Marie Curie. Jane Goodall.) (pauses) Jimi Hendrix desu(ジミー・ヘンドリックスです―Jimi Hendrix.) (her presentation falters.)

Atashi syumi de guitar wo hikundesu(あたし趣味でギターを弾くんです―I play guitar. It's one of my hobbies. )Sorekara Salsa dance toka(それからサルサダンスとか・・・―Along with Salsa dancing. )(regains confidence.)

Daigaku dewa syuseki deshita(大学では首席でした ―I was first in my class at the University of Tokyo. )Onsya wa robot kougaku ni oite nihon de ichiban no jisseki wo omochide irassyaimasu(御社はロボット工学において日本で一番の実績をお持ちでいらっしゃいます―Nakahara is the best robotics firm in Japan. )

Daigaku de mananda chishiki wo motte onsya ni kouken dekiru to watashi wa kakushin shiteorimasu(大学で学んだ知識をもって御社に貢献できるとわたくしは確信しております。―I think I would be a perfect fit here.)

Surgery Edit

(The Present)

OLIVIA: Dr. Varley, she's oozing an awful lot. What was her platelet count, hemoglobin and coags preop?

BRYCE: Um... I'm sorry. Her platelets were, uh... Um...

MANEESH: Platelets 80,000, hemoglobin 10.5.

OLIVIA: Looks like a cirrhotic to me. Is she a drinker, Dr. Varley?

BRYCE: Uh, sorry, um...

OLIVIA: Uh, Maneesh, I'm gonna need some F.F.P. and 2 units of packed red blood cells as soon as you can get 'em. She's oozing everywhere we cut. Send a D.I.C. panel and, uh, hang a banana bag with two grams of mag.

Bryce's Apology Edit

BRYCE: Dr. Benford, I'm sorry.

OLIVIA: I think you need to think seriously about whether or not you're committed to this profession.

A Party Edit

(Keiko, looking dejected, opens the door of a residence.)

CROWD: Congratulations!

KEIKO: Mom, I told you not to tell anyone.

YUUKA ARAHIDA: Of course we're going to celebrate this! You got a job! Not, just any job, but a prestigious one, with a very prestigious company.

OLD LADY: And in this economy.

RYUU: Mom told everyone at the hair salon.

YUUKA ARAHIDA: Come in. Have some beer. And look who's here. Mr. Ito and Mr. Shimada. (two men bow)

KEIKO: What are you doing?

YUUKA ARAHIDA: What? They are very nice boys. And it doesn't hurt for either of them to see how successful you are.

KEIKO: I've been at Nakahara for two days!

YUUKA ARAHIDA: Keiko, aren't you happy? All your hard work paid off. You'll never have to work in a restaurant! I'm so happy for you.

Psychiatric Care Edit

BRYCE: I don't know where I belong. I'm not a very good doctor. I never have been, really.

DR. FLEMING: It wasn't what you wanted?

BRYCE: I don't know what I want.

DR. FLEMING: Mm.

BRYCE: I just... did it... And now I'm here.

DR. FLEMING: Have you told your family, your colleagues about your illness?

BRYCE: My family's been through enough, Dr. Flemming. With my dad dying of lung cancer for three years... It was a nightmare.

DR. FLEMING: What about your colleagues? Surely they would understand.

BRYCE: I don't want their pity.

DR. FLEMING: Pity? Bryce, you need support right now. That's what's gonna get you through this.

BRYCE: Nothing is gonna get me through this. My diagnosis is terminal.

DR. FLEMING: You don't know what the future holds. None of us do, really. Your job is to take care of yourself, Bryce, to try and have the best life you can for as long as you can. Live each day doing what feels right.

(Bryce relives his actions on the October 6, before the GBO.)


Flash: Bryce

(Bryce is sitting in a Japanese restaurant.)
BRYCE: Some tea, please
WAITRESS: Anything to eat?
(Bryce points at selection from menu. He sees Keiko's t-shirt with the Arahida logo.)
BRYCE: Please sit with me (They smile and she sits.) May I? (He examines her tattoo.) Believe.
(They smile again.)



Act II Edit

Japanese Lessons Edit

(The Present - Bryce is in his apartment listening to a Japanese language lesson.)

Pleased to meet you-- Hajimemashite. (はじめまして)

Hajimemashite.

Please speak more slowly-- Yukkuri hanashite kudasai.(ゆっくり話してください。)

Yukkuri hanashite kudasai.

What's your name? O namae wa nan desu ka?(お名前は何ですか?)

O namae wa nan... desu ka?

I love you-- Suki desu.(好きです。)

Suki desu. Suki--

Please sit down-- Okake kudasai.(おかけください。)

(Bryce runs to his bathroom and vomits into the toilet.)

How are you feeling today?

Gokigen ikaga desu ka?(ご機嫌いかがですか?)

I hope you are well...

Gokenkou wo oinori shiteimasu.(ご健康をお祈りしています。)

Can you give me the directions?

Michi jyun wo oshiete kudasai.(道順を教えてください。)

I am lost.

Michi ni mayotte imasu.(道に迷っています。)

Who are you?

Anata wa dare desu ka?(あなたは誰ですか?)

What do you want?

Nani wo omotome desu ka?(何をお求めですか?)


More about Jericho Edit

(Aaron is cleaning his house while Tracy sleeps. His cell phone rings.)

Yeah?

Hey, how is Tracy?

She's, uh... she's pretty shut down.

Terrified Jericho's gonna come and find her.

Well, I've been looking into that for you.

Yeah?

Yeah.

Unfortunately, private military contractors

like Jericho and Blackwater are harder to break into

than Fort Knox.

That's what I was afraid of.

Yeah, but this outfit's headquartered in Santa Monica,

right in our own backyard,

working out of the

Burroughs Foundation for International Peace--

Some kind of think tank.

(Aaron sees something under the sleeper sofa occupied by Tracy and holds up an empty alcoholic beverage bottle.)

- Think tank? - Yep.

It's gonna take a higher security clearance

than I have at this point

to get much beyond that.

Hold on a sec.

Hey, Livvie,

- your phone's ringing. - Babe, can you get it?

I gotta go. I'll put out some more feelers, all right?

The Text Message Resurfaces Edit

OLIVIA: Who is it?

(Upon picking up Olivia's phone, Mark sees the text message from October 31 about his drinking during his Flash.)

OLIVIA: Who was it?

MARK: What is this?

OLIVIA: It's this weird text I got.

MARK: Who... who sent it?

OLIVIA: I have no idea.

MARK: You figured you... you wouldn't mention it?

OLIVIA: Well, you already told me about the drinking before I got a chance to bring it up. The phone thing didn't seem like such a big deal. I gotta get dressed.

(Mark picks up his sobriety token.)

Olivia Discovers Bryce's Cancer Edit

OLIVIA: Hey, Bryce. Nice job with that tension pneumo.

BRYCE: Thanks.

OLIVIA: You okay?

BRYCE: Yeah, yeah.

OLIVIA: You look sick.

BRYCE: I'm--I'm okay.

OLIVIA: Come here. You're not febrile, but you're really pale. Go home. I'll have Cynthia cover your shift.

BRYCE: I'm gonna be okay. I just need a minute.

(Bryce begins to walk away and staggers.)

OLIVIA: Bryce, hey, hey, hey, come here. Whoa. Come sit.

BRYCE: I'm just –

OLIVIA: You look terrible.

BRYCE: I'm just tired. I'm...

OLIVIA: Graphia says you almost passed out during grand rounds last week. You wanna tell me what's going on?

BRYCE: It's nothing.

(Olivia reaches to open Bryce's clothing so she can use a stethescope.)

BRYCE: Oh, we--we don't need to--to do that.

OLIVIA: Come on. Why do you have a central line?

BRYCE: Uh... It's for the chemo.

OLIVIA: Chemo?

BRYCE: I have... renal cell carcinoma. Stage four.

OLIVIA: How long have you known?

BRYCE: Um, about a year. Had my kidney out just before I started here.

OLIVIA: This is why you tried to kill yourself that – Oh, Bryce.

BRYCE: I was terrified. I didn't think that I could face the prospect of dying. I didn't want to put my family through that.

OLIVIA: I can't believe you -- have been going through this alone. I can't believe I didn't see it.

BRYCE: It hasn't been that bad so far. It's rough for a few days after chemo, but then I bounce back. Anyway, since the blackout, things are different now. I'm gonna be okay. I've got something to live for.

Tracy Serves Dinner... and Wine Edit

TRACY: (places casserole dish on table) It's hot. I forgot the cheese. (goes to kitchen)

AARON: I don't need the cheese. This smells great. When I was in the military, this crazy staff sergeant in my detail made the best food I ever threw a lip on.

(Tracy returns carrying a bottle of wine and pours a glass for herself. Aaron stares.)

TRACY: What?

AARON: I can't do this.

TRACY: Do what?

AARON: Have you drinking here.

TRACY: It's just a glass of wine.

AARON: Doesn't matter. A glass of wine or a fifth of vodka – It just doesn't work for me.

TRACY: Come on, Dad. Relax. I'm not asking you to drink.

AARON: That's not the point. I can't be in the same room as it. You understand that?

TRACY: After everything I've been through, you're telling me I can't have a glass of wine? I'm 24 years old, and I've been through hell. I can't have a drink?

AARON: Baby, I'm not talking about what you can or can't do. I'm telling you what I can't do. This is good.

TRACY: Fine. I'll go somewhere else. (leaves room carrying glass and bottle.)

The Seventh Ring? Edit

(A visitor from the National Security Agency is visiting the Los Angeles Field Office.)

MRS. LEVY: The N.S.A.'s digital forensics team uncovered this symbol on Suspect Zero's ring. Alpha. And it could mean anything – The angle of attack in aerodynamics, the brightest star in a constellation. Alpha is the beginning of everything.

STAN: If we can enhance the ring so well, why can't we see his face?

MRS. LEVY: We tried to rebuild that image from all the various camera angles that we got. But in one, his skin was all blown out. In another, it was a raking profile and so on. The ring was much easier. It has hard edges and a reflective surface. We captured still images as the hand moved. We replaced pixels and then built a 3-D model of it.

STAN: Frankly, we were hoping the N.S.A. would provide usan analysis of the ring that was a little more substantial.

Demetri's Call Intercepted Edit

MRS. LEVY: To tell you the truth, I'm--I'm a little uncomfortable talking in this particular group.

DEMETRI: Uncomfortable?

STAN: Look, Mrs. Levy, we don't have time to play games.

MRS. LEVY: Okay, I'll be blunt, Mr. Wedeck. One of the members of your Mosaic task force has been red-flagged by the N.S.A.

STAN: What? Who?

MRS. LEVY: A couple of months ago, our wiretapping program intercepted a phone call whose origins had been professionally concealed to a bureau cell phone.

STAN: Whose phone?

MRS. LEVY: Agent Noh's.

DEMETRI: Since when do you guys wiretap the FBI?

MRS. LEVY: Homeland Security is the number one priority.

DEMETRI: What do you mean, Homeland Security is the--

MARK: Wait a minute. Wait a minute. Maybe it's the call – your call from the woman.

AGENT VREEDE: About your murder.

MARK: Right.

DEMETRI: Are you saying that you have a recording of that call? How do I get it?

MRS. LEVY: I'm sorry. It's classified SIGINT – signals intelligence.

DEMETRI: The woman who made that call told me I was gonna be murdered on March 15th. I´m running out of time, so if you have any information on who that was or why I'm going to be killed--

MRS. LEVY: I'm not authorized to give –

DEMETRI: Come on! Call whoever you need to call to make it happen then! How about that, Ms. Levy?

MRS. LEVY: Let me make a call.

Act III Edit

Doing Nothing for Nakahara Edit

(Keiko Arahida, apparently with a position but no work, is sitting at her desk watching a small robot pick up pieces of candy.)

(She mimics a video while mimicking the guitar work.)

♪ 'Twas in another lifetime ♪

♪ One of toil and blood ♪

♪ When blackness was a virtue ♪

♪ And the road was full of mud ♪

♪ I came in from the wilderness ♪

♪ A creature void of form ♪

♪ "Come in," she said, "I'll give ya ♪

♪ Shelter from the storm" ♪

MAN: Miss Arahida! Miss Arahida! The boss needs you immediately.

KEIKO: Yes

(Keiko follows the man to a conference room.)

MAN: Excuse me.

KEIKO: (advancing to table) Excuse me.

MR. NAKAHARA: Miss Arahida. Thank you for joining us.

KEIKO: It's an honor, Mr. Nakahara.

MR. NAKAHARA: Please serve us our tea.

MAN: You're the only woman in the department. They're not going to hire another just to serve tea.

(With disgust on her face, Keiko pours the tea.)

Help with Japanese Edit

BRYCE: Benjo wa... doko... desu ka Los Angeles? (便所は、どこですか Los Angeles?)

NICOLE: You just said "Where is the toilet, Los Angeles?"

BRYCE: Let me see that book a sec.

NICOLE: It's so cool you're learning a whole language for someone you haven't even met.

BRYCE: But I am gonna meet her. I know it. Wow. I'm hearing myself, and I sound crazy.

NICOLE: But it's a good kind of crazy. Love crazy.

BRYCE: You think?


Who sent the text - Aaron? Edit

(An Alcoholics Anonymous meeting is ending; everyone leaves except Mark and Aaron.)

MARK: Hey.

AARON: Didn't see you there.

MARK: Yeah, I came in late.

AARON: Yeah? What's up?

MARK: I'm really struggling, Aaron. Things were going great at home, or better at least. Then this thing happened. Someone sent Olivia a text, telling her I was drinking in my flash-forward.

AARON: Who would do that?

MARK: I don't know. I only told two people. It's kind of freaking me out, you know?

AARON: That's weird.

MARK: Yeah.

AARON: You trying to say something to me, Mark?

MARK: Like I said, uh, I only told two people.

AARON: Do you know how many hours I've spent listening to your crap, your doubt, your self-pity?

MARK: I thought you were my sponsor.

AARON: That's right. That doesn't mean I'm your punching bag.

MARK: I think I have the right to ask you if you're communicating with my wife behind my back.

AARON: You son of a bitch. After all the time we've known each other, you think I would do that?

MARK: I don't know what to think anymore.

AARON: You don't know. (throws some chairs.) Don't know. Here's some food for thought. Why don't you get a new sponsor? Someone you can really trust.

Act IV Edit

Getting a Tattoo Edit

(Entire conversation is in Japanese.)

(Keiki hesitates, then enters a tattoo parlor where an artist is working on customer.)

KEIKO: I want a tattoo.

ARTIST: Yeah, right. (to customer) What a weirdo.

KEIKO: I'm serious.

ARTIST: You look like an office girl. You get one of these what are people gonna think of you at work?

KEIKO: I don't care.

ARTIST: You don't care? The nail that stands out gets hammered.

KEIKO: I'm not doing it for them.

Who sent the text - Stan? Edit

(At the Field Office)

MARK: Got it.

STAN: What?

MARK: Demetri's phone call.

STAN: Okay.

MARK: I'm taking it down to audio forensics right now.

STAN: Okay.

MARK: Can I ask you something?

STAN: What?

MARK: Did you send Olivia a text?

STAN: Your wife?

MARK: Uh-huh.

STAN: Why would I send your wife a text?

MARK: Well, someone did. Telling her I was drunk in my flash-forward. You're one of only two people I've told.

STAN: So?

MARK: So as, uh, I recall you were pretty pissed that I was drinking and the implications that had for our investigation.

STAN: Oh, I see. You were thinking I was so angry and so petty that I'd run out and text your wife about it? – Get out of my office, Benford. I don't wanna see your face right now.

Japanese from a Japanese Edit

(Bryce approaches the bed of a Japanese patient.)

BRYCE: Konichiwa. Ogenki desu ka? (こんにちは。お元気ですか?)

MS. KONDO: Genku desu. Anata wa? (元気です。あなたは?)Your accent is really improving, Dr. Varley. 

BRYCE: Domo arigato, Kondo-san. (どうもありがとう、近藤さん。)Well, if nothing else, I'll come out of this having learned a second language.

MS. KONDO: So how's the search for your young woman?

BRYCE: Well, no response to my Mosaic posting yet, but I did finish my drawing. You wanna see it?

MS. KONDO: She's quite beautiful.

BRYCE: I was thinking about posting it on the web.

MS. KONDO: Well, at least you know where she likes to eat.

BRYCE: What do you mean?

MS. KONDO: Sushi Arahida. It's a restaurant in Tsukuba, not that far from Tokyo. I taught at the university there.

BRYCE: Is it possible there's more than one restaurant with this name.

MS. KONDO: In... Tsukuba? Well, I doubt it, not with this same logo. It's a little, tiny place. She's probably a local.

BRYCE: Ms. Kondo, in my flash-forward, I was sitting in a Japanese restaurant. Maybe it's...

MS. KONDO: Maybe.

BRYCE: Thank you! Arigato, Kondo-san. Arigato.(ありがとう、近藤さん。ありがとう。)


Hope of a Cure Edit

OLIVIA: Oh, Bryce? Dr. Varley, do you have a minute?

BRYCE: Yeah.

OLIVIA: Hey. Uh, so listen, maybe it's none of my business, but I made a few calls, did a little bit of research, and there really are some good options out there.

BRYCE: Oh, Dr. Benford, I appreciate it –

OLIVIA: There's this friend of mine from medical school who's running an experimental trial with Trifectumab out of M.D. Anderson in Houston, so I made a call, and you're in.

BRYCE: Thank you.

OLIVIA: No. You kidding? It's the least I can do. Here.

BRYCE: I've, uh, I've read about Trifectumab. I'm not sure about the side effects, though.

OLIVIA: We're talking about your life. Now's not the time to be conservative.

BRYCE: Dr. Benford, thank you. Um, but – but you don't understand. Uh... Because of my flash-forward, I know that I have something to live for. I can't take a drug that might kill me or make me sicker.

OLIVIA: Okay, Bryce, you're only gonna hear me say this once. Maybe the reason you're alive in your flash-forward is because you're gonna take this drug and get better. Bryce, don't give up on me. Please. Come here. (Olivia hugs Bryce.) Go to Houston. You need a couple of days, take a couple of days.

(Bryce flies to Tokyo instead.)

Act V Edit

Looking for Keiko - Restaurant Edit

(Bryce enters Sushi Arahida and is greeted.)

(Dialog in Japanese is rendered in italics.)

HOST: Come in. Counter or table?

BRYCE: Please speak more slowly.

HOST: A table then. (Turns to lead Bryce.)

BRYCE: I... I am looking for a girl.

HOST: For sex?

BRYCE: No. No. Not for sex. (shows one of his drawings of the unknown woman)

HOST: (to waiter) Hey. I don't know what this person wants.

BRYCE: Do you know this girl? Nose... Heart... Go dum-dum, dum-dum. I love you. I love you. Girl. Girl.

WAITER: (showing drawing to cook.) He's looking for a virgin.

COOK: Isn't that Keiko?

HOST: That's not Keiko.

COOK: That's Keiko. Her hair's a little different.

BRYCE: Keiko? Do you know her? Do you know where I can find her? Keiko?

COOK: Should we tell him?

HOST: Sure, why not?

COOK: Yes, I know Keiko.

BRYCE: Thank you. Thank you. Thank you.

Keiko at Home Edit

YUUKA ARAHIDA: Quit? Why would you quit?

KEIKO: Because I hate it. It's becoming a cemetery for my soul.

YUUKA ARAHIDA: We worked our entire lives in that restaurant for you – So you could be somebody! You can't quit!

KEIKO: Mom – I'm not a child anymore. But maybe it's not the life you wanted for me. I have my own dreams. My own life. And I'm not going to live it for you.

YUUKA ARAHIDA: Keiko, what are you saying?

KEIKO: And that I can pick my own husband.

YUUKA ARAHIDA: You would be lucky to have Mr. Ito for your husband.

KEIKO: Mr. Ito is a salaryman with no imagination.

YUUKA ARAHIDA: Who needs imagination?

KEIKO: I need imagination! There's somebody else out there for me.

(Flash Keiko: Running among flying sparks)

YUUKA ARAHIDA: If you can't respect our family and our wishes, maybe you shouldn't live here.

Identifying Hong Kong Edit

RECORDING: There is no delicate way to say this, but on March 15, 2010, you are going to be murdered.

DEMETRI: Wow, it's even worse hearing it a second time.

AGENT VREEDE: We've analyzed the ambient noise, and we've come up with a potential lead.

DEMETRI: Lead? What kind of a lead?

MARK: Listen to this.

RECORDING: ...there is no delicate way...

AGENT VREEDE: Now, I stripped away everything but the background noise.

RECORDING: ...but on March 15th... (followed by music only)

AGENT VREEDE: We found--

DEMETRI: You found cheesy electronic music. Come on, Vreede.

AGENT VREEDE: Oh, no, no. Not just any cheesy electronic music, my friend. It's the "Symphony of Lights," the world's largest outdoor light and music show. Plays every night in Hong Kong Harbor.

MARK: Wanna take a little trip?

Going to Hong Kong? Edit

(In the hallway, Los Angeles Field Office)

STAN: I'm sorry, but I just can't send you to China after that CIA idiot accused them of causing the blackout. Relations between the two countries are tense enough as it is. Look, I want to solve Demetri's potential murder as much as anyone, but even if she made the call from Hong Kong there's nothing to say that she's still –

DEMETRI: She concealed the origins of her call, Stan. That alone makes her a suspect.

(In Wedeck's office)

MARK: We have to find out who she is and what else she knows.

STAN: Look, I promise you, I'll have our legats guy in Asia try and track her down, but I need you here. You're not going to Hong Kong. End of story.

(Outside Wedeck's office)

MARK: Hey. We're going.

DEMETRI: What?

MARK: Hong Kong.

DEMETRI: Wedeck's gonna be pissed.

MARK: Mm-hmm. He'll get over it.

Looking for Keiko - At Home Edit

Hai.

Um, I'm sorry.

Is this your daughter,

musume-san?

Is this your daughter? Uh...

Is this your sister?

They told me at the restaurant that she lived here.

Please, I came all the way from Los Angeles. Is this Keiko?

Do you know Keiko? Keiko, please.

Act VI Edit

Bryce Gives In Edit

(Bryce is sitting outside in the rain in Tokyo under an umbrella, talking to Nicole by cell phone.)

BRYCE: I'm such an idiot. What was I thinking?

NICOLE: You were thinking you were going to find the woman you love.

BRYCE: But I didn't.

NICOLE: Now you know her name. That's something.

BRYCE: I don't even know if it's her real name. I went to the university. I went back to the restaurant. No one can tell me anything. I don't know how long I can wait, Nicole.

NICOLE: Maybe you're just trying to rush things that can't be rushed. Sometimes, you just gotta be patient. Isn't that how love works?

BRYCE: I don't know. Maybe I misinterpreted the whole thing. Maybe it's... It's just some kind of fantasy and a really good way to run away from my life.

NICOLE: Bryce, come home. Come home.

Mark and Aaron Reconcile Edit

MARK: Hey. Can I come in?

AARON: What do you want?

MARK: To talk. I was out of line.

AARON: Yeah, you were.

MARK: I've been a little stressed.

AARON: For God sakes, Mark. You think you're the only one who's dealing with issues?

MARK: Of course I don't. I know you're dealing with the whole Tracy thing –

AARON: You have no idea what I've been dealing with, so why don't you just shut the hell up, okay? Yeah, Tracy's back, but she's not the person she used to be. That person is dead.

MARK: Aaron, Aaron – Aaron...

AARON: No, you... You don't get it. She's broken, angry, scared. She drinks herself to sleep every night. She's a messed up alcoholic, Mark. And I'm to blame... for all of it. She enlisted because she wanted to be just like me. And now she drinks just like me. There's not a damn thing that I can do about it. Look, we've crossed a line here... for better or worse. I don't think I can be your sponsor anymore, Mark. I'm sorry. But I could really use a friend.

MARK: You got it.

Bryce (and Keiko) Land Edit

FLIGHT ATTENDANT: Welcome to Los Angeles.

(Bryce exits the aircraft from Tokyo to Los Angeles. After several other people deboard, Keiko follows.)

♪ 'Twas in another lifetime ♪

♪ One of toil and blood ♪

♪ When blackness was a virtue ♪

♪ And the road was full of mud ♪

♪ I came in from the wilderness ♪

♪ A creature void of form ♪

♪ "Come in," she said, "I'll give ya ♪

♪ Shelter from the storm" ♪

♪ Not a word was spoke between us ♪

♪ There was no risk involved ♪

♪ Everything up to that point had been left unresolved ♪

♪ Try imagining a place ♪

♪ where it's always safe and warm ♪

♪ "Come in," she said, "I'll give ya ♪

♪ Shelter from the storm" ♪

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FlashForward Season One Transcripts
"No More Good Days" • "White to Play" • "137 Sekunden" • "Black Swan" • "Gimme Some Truth" • "Scary Monsters and Super Creeps" • "The Gift" • "Playing Cards with Coyote" • "Believe" • "A561984" • "Revelation Zero, Part 1" • "Revelation Zero, Part 2" • "Blowback" • "Better Angels" • "Queen Sacrifice" • "Let No Man Put Asunder" • "The Garden of Forking Paths" • "Goodbye Yellow Brick Road" • "Course Correction" • "The Negotiation" • "Countdown" • "Future Shock"

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