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Transcript Transcript Transcript

Prologue Edit

(Mark Benford is hanging upside down)

BACKGROUND: (panting) (car alarms blaring in distance) (woman screaming) (grunts)

WOMAN: Over here!

BACKGROUND: (groans) (car alarms continue blaring) (grunts) (sobbing) Please, help me! Please!

WOMAN: (screaming) Someone, please! Please!

(man shouting indistinctly)

MARK: Demetri! Demetri!

BACKGROUND: (man screaming) Aah! Aah!

Act I Edit

Exterior of Benford Home Edit

(Four hours earlier)

WOMAN ON RADIO: Good morning, Los Angeles. It's 7:00, and it looks like it's gonna be another beautiful day. We're looking at light clouds and highs in the mid 70s today. Keep that umbrella handy because we've got a chance of sprinkles later...

Benford Master Bedroom Edit

(Mark's weapon safe beeps as he punches the combination. He opens it and sees a note from his wife reading "You're a crappy husband. I hate you." He chuckles, collects his items and walks to the bed where Olivia is still sleeping.)

MARK: I hate you, too.

OLIVIA: (chuckles) Mmm. Mm, babe, don't forget to look at the garage door. It's acting up again.

MARK: Already forgotten. Bye.

(Olivia laughs)

Benford Kitchen Edit

CARTOON SHOW: Just because I'm a squirrel doesn't mean I like acorns.

(Charlie gasps.)

MARK: Mmm, smells good. (Cartoon continues indistinctly. Mark serves breakfast to Charlie.) Here you go, my princess. Mmm. (Mark kisses Charlie)

Exterior of Benford Home Edit

(Garage door grinds and gears squeak)

HECTOR: Te ayudo. (I'll help)

MARK: (chuckles) Hey, Hector.

HECTOR: Buenos dias. (Good morning)

SONG ON CAR RADIO: And it don't take much to get...

MARK: Hey, Nicole.

NICOLE: I'm sorry I'm late.

MARK: Don't worry. Hey, Olivia's working the late shift at the hospital tonight. You think you can stay an extra hour or two?

NICOLE: Yeah, no problem. I've got studying to do anyway.

MARK: You're a saint.

Benford Patio Edit

BRYCE (recorded): Hey, this is Bryce. You know what to do. (Beep)

OLIVIA: (Leaving voice mail) Bryce, it's Olivia. You weren't around yesterday. You better have a damn good reason why. Okay, you call me immediately.

Venice Pier Edit

OLIVIA (recorded as Bryce Varley walks along pier): I'm worried about you.

(Indistinct conversations, seagulls calling. Bryce walks to railing of pier and looks out at the surfers. He checks his message list, finding that Olivia called three times. He places the cell phone and his wallet with his driver license displayed on the railing and removes a revolver from his day bag.)

Meeting of Alcoholics Anonymous Edit

AARON (as Mark and others listen): My daughter Tracy was 5'5", 118 pounds. But... when the marines shipped her body back from Afghanistan... (voice breaks) Sorry, her remains... They weighed 37. Only reason I knew it was her at all was because they DNA'd what was left. So... Yeah. I took a drink that night.

After the Meeting Edit

MARK: You call Amanda yet?

AARON: Yeah, we're talking.

MARK: Oh, you're talking? Really? Really, that's kinda weird because she told Olivia she never heard from you.

AARON: Hey, I'm your sponsor. I'm the one who's supposed to be riding you, not the other way around. All right, all right. I'm getting around to it.

MARK: Come on, Aaron. Just call. She's cool.

AARON: Nurses freak me out, man.

MARK: It's a date. She's not giving you a friggin' enema.

AARON: How do you know that's not my thing? (Aaron gets into his Department of Water and Power truck.)

Benford Living Room Edit

(Mos Def's "Quiet Dog" playing)

NICOLE: (laughs as she and Joel are engaged in foreplay, then pauses with a frown on her face.)

JOEL: What's wrong?

NICOLE: I thought I heard Charlie.

JOEL: Charlie's asleep.

NICOLE: This is so wrong.

JOEL: (laughs) Which is why you love it.

NICOLE: Dude, as soon as we're done, you have to get your ass out of here.

JOEL: All right, well, stop talking and get to work.

Stationary Surveillance in Los Angeles Edit

(Camera shutter clicking)

DEMETRI: So then we get to the subject of the first dance, right? I'm sorry, but Zoey picks one of the corniest songs of all time — "Islands in the Stream." Yeah. The old Kenny Rogers/Dolly Parton duet. Okay, and we used to sing it when we did karaoke, but that was when we were, like, really, really drunk, you know? And I put up with it because we were dating, and that's what you do. But my friends are gonna be there, my family. I cannot dance to "Islands in the Stream." I will never live it down. You don't care about any of this, do you?

MARK: Oh, I do. I do care. I'm riveted. I'm fascinated.

DEMETRI: Uh-huh (laughs)

MARK: But, uh, what do you want me to say, don't marry her? Don't marry her. The odds are against you anyway.

DEMETRI: Oh, that's good. Thank you. You're still married.

MARK: I'm surprised Olivia didn't leave me a long time ago.

DEMETRI: Me, too, buddy. So what'd you guys dance to?

MARK: I can't even remember.

Hospital Surgical Scrubbing Room Edit

DEBBIE: He's a holy terror. Terrible twos at one year.


DEBBIE: (chuckles) You're lucky you have a girl.

OLIVIA: Ugh. Are you kidding me? You only have to worry about one penis. I gotta worry about all of them. (laughs) Here we go. Showtime.

Mobile Surveillance in Los Angeles Edit

(camera shutter clicking)

MARK: Khalid, Omar, unknown female going mobile in a black S.U.V. (to agents in van) Bobby, you're on point. They should hit you in 20 seconds.

(beep) JANIS: FBI. Janis Hawk.

MARK: It's Benford. Get Wedeck. Suspects are on the move. Three weeks. It's finally about to start getting interesting.

JANIS: Okay, Mark, I'm putting you on speaker.

STANFORD: What do you got?

MARK: Khalid, Omar and an unidentified Caucasian woman. We're e-mailing you pictures right now.

STANFORD: Who is she?

MARK: Uh, that's the "unidentified" part, sweetheart.

(typing on keyboard)

STANFORD (to Janis): Get this to Digital Forensics and run it by I.C.E.

JANIS: Okay.

(brakes squeal)

MARK: They made us. They're on the move.

(siren wailing)

(tires screech)

BOTH: Whoa! Holy! Ohh!

(horns blare, tires screeching)

MARK: Come on! Get some backup! Get some backup now!

DEMETRI: (on radio) All right, all right, all right. Suspects fleeing west on 6th! Black Escalade, license plate 8 - Queen - Robin - 7 - 2 - 2 - Young.

MARK: We need L.A.P.D. and air support now!

(horn blares)

DEMETRI: No! Drop! Car!

MARK: Calm down!


MARK: Shut up!

DEMETRI: No! No! (laughs)

MARK: What are you laughing at?

DEMETRI: I don't know. I've never done this before.

(tires screeching)

(brakes squealing)

MARK: Come on.

(shouts indistinctly)

(tires screech)


(whoosh) (whoosh)

(whispering indistinctly)

(cocks gun)


After the Blackout - Mark Edit

(car alarms blaring in distance)

(woman screaming)

(man shouting indistinctly)

MAN: We need help!

(woman continues screaming)



(sobbing) Please help me!

(people screaming)


After the Blackout - Bryce Edit

(surf rolling, seagulls calling)

After the Blackout - Olivia Edit

(alarm beeping rapidly)

WOMAN: Dr. Benford, what happened?

MARK: I don't know. I lost consciousness. You okay?

WOMAN: Yeah.

After the Blackout - Nicole Edit

JOEL: Nicole?

(car alarms blaring in distance)


What happened?

I-I blacked out.

(birds chirping)


(woman screaming)

After the Blackout - Demetri Edit



(Dog barks)

(screaming continues)

(shouting in Asian language)

Calm down. Relax, man.

Okay. Try to calm down.

(continues shouting)

Aah! Aah!

(loud explosion)

(glass shattering)

(loud whoosh)


(loud crash)

(screaming continues)

MAN: Aah! Look out! Aah!

(loud explosion)

(people screaming)

Act II Edit

Carnage in Los Angeles Edit

(loud explosion amid other background noises. Woman screaming. Mark surveys the carnage around him.)

DEMETRI: Mark! Over here!

MARK: Hey! Hey! (Mark runs to Demetri.) Are you all right?

DEMETRI: Yeah. Yeah, I think so. We were driving, right? I blacked out.

MARK: Me, too.

WOMAN: Help me!

All right, all right, move aside.


Move aside.

Excuse me.

MARK: Stay calm. We got you.

DEMETRI: Yeah, got him.

MARK: Get back! This thing could blow.

DEMETRI: All right, we gotta call this in! We gotta call 9-1-1.

MARK: Trust me, they know. Try the office. See if they can tell us what the hell happened.

(loud explosion)

(people screaming)

(loud crash)

Confusion at Venice Pier Edit

MAN (in distance): ...the water! Somebody! They're not moving! Help! Hey! Hey! Help! Please! Help! I-I need some help! Please, somebody! Help! Hey! Help!

BRYCE: Just hold on! I'm a doctor! I'll be right there!

Nicole Awakes Edit

NICOLE: Oh, crap. Charlie! Charlie! (Runs upstairs; exhales deeply) Sweetheart, are you okay?

CHARLIE: I had a bad dream. I dreamt there were no more good days.

Arresting the Unidentified Woman Edit

(People are shouting indistinctly. Mark tries unsuccessfully to call Olivia.)

MARK: Can't get my family.

(Mark and Demetri look at a black SUV.)

DEMETRI: That's our S.U.V.

MARK: That's what I was thinkin'.

MAN IN BACKGROUND: Help me! Can you hear me?!

(man shouts indistinctly)

MAN IN BACKGROUND: Hey, go this way! Get up and move it around! (Woman sobbing)

(Mark and Demetri approach the SUV. Mark sees that the driver is dead. They position themselves and Mark pulls open the left rear door. The unidentified woman is conscious in the rear seat.)

MARK and DEMETRI: Hands up!

DEMETRI: Hands up! I got her. Get out. Come on. Get out. Get out! (woman groans) We know you were planning an attack. What did you do, huh?

WOMAN (ALDA HERTZOG): (groans) Uhh!

DEMETRI: Tell me what happened!

MARK: Take it easy.

DEMETRI: We know about the suitcase. Did you set it off? Answer me!

WOMAN (ALDA HERTZOG): (panting) I blacked out. I was somewhere else. There was a storm. The horses were scared.

DEMETRI: (grasping woman's neck) What are you talking about? What are you talking about? What are you talking –

MARK: Calm down! Does this look like a dirty bomb to you? Does it? We don't know what this is. Maybe they weren't even involved.

Calming the Crowd Edit

TEENAGED BOY: Are – are you guys cops?

MARK: FBI. It's okay.

TEENAGED BOY: What happened?

NERVOUS WOMAN: Was it a nuclear attack?

MARK: I don't know.

OLDER MAN: It's gotta be the big one. I mean, look. Look at this mess. It's gotta be.

TEENAGED BOY: When's help getting here?

MARK: Look, until emergency services arrive, we need to stay calm and help whoever we can, all right?

TRUCKER: They ain't comin'.

MARK: What?

DEMETRI: What'd you say?

TRUCKER: I just heard on my radio, some guy in San Diego. They're dealing with the same thing. It's more than just L.A., man.

DEMETRI: (to Alda Hertzog) Sit down. You move, I shoot.

(man shouting indistinctly)

DEMETRI: (beeping) I can't get through to Zoey. What about Olivia?


DEMETRI: Listen, Zoey's in Seattle right now. But Olivia's close by, right? Hospital's two miles. You can make it on foot.

MARK: No, no, I-I-I can't just leave –

DEMETRI: There's nothing we can do here right now. Okay? Go check on your family. Go!

Mark Moves Edit

(sirens continue wailing)

(man shouting indistinctly)

(electricity crackles)

(woman screams)

VOICE: Help me!

(alarm bell ringing)

(people shouting indistinctly)

MAN: Look out!

VOICE: Move! Aah!

(tires screech)

VOICE: Watch out! Look out, man!

MARK: Hey! Son of a...

(indistinct police radio chatter)

(helicopters whirring overhead)

(siren wailing)

MAN: Roger.

MAN: Come on, man, get out!

(man on TV speaking indistinctly)

WOMAN: There are thousands and thousands of injured people waiting for emergency...

WOMAN IN BRITISH ACCENT: Uh, all we know for certain is that everyone on the planet seemed to have blacked out at exactly the same time.

MAN: ...Confirming that the blackout was a worldwide phenomenon. Officials are...

WOMAN: Fire services and police services are completely overwhelmed at this time.

MAN: ...En este momento. (At this time)

PERSON IN THE CROWD: My God. It's the whole world.

Act III Edit

Olivia Calls Mark Edit

FEMALE TELEVISION REPORTER: ...Information as to the cause of the blackout. Hospitals are overflowing. Fire services... and police services are completely overwhelmed...

(Mark's cell phone rings.)

MARK: Livy! Livy, I'm here.

OLIVIA: Oh, thank God! I got ahold of you.

MARK: What about Charlie? Is she okay?

OLIVIA: She's fine. Nicole called. She can stay put till one of us gets home.

MARK: And you're all right?

OLIVIA: Yeah, I'm fine. We were in the middle of surgery and we all lost consciousness. Everyone. Patient died while we were out.

MARK: I'm downtown right now. Same thing. So, uh, w-what? Everyone there blacked out?

OLIVIA: Yeah, everyone. We thought it was just the hospital, but then Corrie got a call from her mother in Chicago. Same thing happened there.

MARK: I know. It looks like this thing is global.

OLIVIA: Global? That's impossible. (sees paramedics with patient) Oh, I-I love you, but, babe, I gotta go.


MARK: All right, I love you. Livy?

(siren wailing)

Dylan Arrives Edit

OLIVIA: What do you got?

PARAMEDIC #1: Got an 8-year-old boy. Pede versus car, plowed straight through a fence at an elementary school. Head injury on the right, abdominal bruising on the left.

BRYCE: Dr. Benford!

OLIVIA: Bryce, where the hell have you been? Go get into your scrubs. Meet me in E.R. (to paramedics) Okay, let's get him into trauma. (to patient) You're gonna be okay, honey.

PATIENT (DYLAN): I know, Olivia.

OLIVIA: How did you know my name?

(monitor beeping steadily)

Los Angeles Field Office Edit

MARK: What have we heard from Washington?

STAN: We're the same. Everyone's just gathering intel. CIA, Homeland Security. Our various legats offices overseas. In other words, nobody knows anything.

Working on Dylan Edit

OLIVIA: How's he doing?

BRYCE: He's taking a turn for the worse.

(Monitor beeping steadily)

(Boy gasping)

OLIVIA: I got no breath sounds on the left, possible punctured lung. He needs a left chest tube stat. (monitor beeping rapidly) We don't release the pressure soon, it's gonna stop his heart from beating.

BRYCE: He's going south. Sats are dropping.

Briefing Stan Edit

MARK: What the hell is this? Worldwide phenomenon.

STAN: Near as we can tell.

MARK: People from all corners losing consciousness at exactly the same moment.

STAN: And for the same duration – two minutes, seventeen seconds.

MARK: How is that even possible?

Saving Dylan Edit

OLIVIA: Where the hell is that chest tube tray?I need it now!

BRYCE: We got no pulse. Blood pressure's 40.

OLIVIA: Thoracotomy.

BRYCE: What are we gonna do?

OLIVIA: Come on, sweetie. Hang in there.

BRYCE: Pulse ox 90. Pulse ox 80. We're dropping! We're losing him! No pulse.

OLIVIA: How are we doing?

BRYCE: No pulse. Blood pressure's dropping.

No Answers Edit

STAN: So we've eliminated nuclear launches, EMPs, and chemical agents.

MARK: What about natural phenomena then?

FBI AGENT: NASA's checking into more exotic explanations – Solar flares, gamma bursts, that kind of thing. But so far they've come up empty.

STAN: What about the Vatican? Has the Pope chimed in yet?

Dylan Saved Edit

(Monitor beeping rapidly.)

OLIVIA: Let's get this chest tube in.

BRYCE: Stats improving, B.P.'s normalizing.

(Monitor beeping steadily)

WOMAN: Pleur-evac.

(Chest tube sucking)

BRYCE: Doing great, buddy. Doing real good.

OLIVIA: Okay, let's get him into the C.T. scanner, check out that head injury. Bryce, you close him up. Nice job. But don't think you're off the hook. I still wanna know where you were yesterday.

(Monitor continues beeping steadily)

WOMAN: (faintly) Yeah, clean that up.

Assessment Edit

STAN: We need to wrap our heads around the scope of this thing, people. It's now been four hours since the blackout. You shut off the consciousness of the entire human race for two minutes. What would the death toll be? How many cars collided? We have planes down at L.A.X. How many more across the country? Around the world?

AGENT VREEDE: F.A.A.'s reporting 877 aircraft down in the United States alone. Air Force Two was one of 'em. The veep was on board.

STAN: Okay. What about hospitals? Operations? Births that were in process. People probably died walking up a flight of stairs.

(Flash Mark: Masked men and indistinct whispering)

FBI AGENT: Global projections are pretty staggering.

MARK: What about the blackouts themselves, sir?

STAN: What about them?

MARK: Well, we've been saying people have been blacking out, but... that wasn't my experience. For me, it was... more like a dream, only more vivid than that. One second, I was in a car. The next... I was somewhere else.

JANIS: Yeah, the same thing happened to me.


FBI AGENT: During the blackout, people seem to have experienced some kind of... hallucination.

MARK: No. No, no. Except that mine didn't feel like a hallucination.

STAN: What's your point, Benford?

MARK: I didn't just lose consciousness. It felt more like my... consciousness went somewhere else. Like I was having a memory, only it—it wasn't of the past. It was of the future. I was in my office. It was night. It was 10:00 on the hour. I was looking out into the atrium, and I happened to see the date – April 29, 2010, about half a year from now.

AGENT VREEDE: Hold on. April 29? I saw the same date. (points toward wall) It was on the news.

FBI AGENT: Same for me – April 29, 10:00 P.M.

STAN: So you're saying what, everyone's consciousness just jumped forward six months to... April 29?

MARK: Crazy as that sounds, yeah.

Act IV Edit

Los Angeles Field Office Edit

(indistinct conversations)

DEMETRI: (to Alda Hertzog) Sit down. Sit down! (to person out of camera range) J.T., could you, uh, give me a hand? Thanks.

ALDA HERTZOG: We didn't do this.

DEMETRI: Even if you didn't, you were still planning on killing thousands of people. So stay still... and shut up.

MARK: Hey.


MARK: You get ahold of Zoey?

DEMETRI: Yeah, she's all right.

AL GOUGH: Mark, hey. You got a sec?

MARK: Sure.

AL GOUGH: I think there may be a way to corroborate what we were talking about in there.

MARK: What do you mean?

AL GOUGH: Well, in my... flash-forward, it was April 30, 6:00 A.M., but I was in London, which is eight hours ahead of the west coast, so it makes sense.

DEMETRI: Wait, "flash-forward"? What are we talking about here?

MARK: (to Demetri) I'll explain later. (to Al) Tell me what you saw.

AL GOUGH: I was having a meeting with our liaison at New Scotland Yard.

(indistinct conversations)

AL GOUGH: I remember we were interrupted because...

(Flash Al Gough: AL GOUGH: ...this bird just crashed into the window.)

AL GOUGH: The point is, I had a vision of Fiona Banks. Let's see if she had a vision of me.

FIONA BANKS: (answering cell phone in London) Inspector Banks.

AL GOUGH: Fiona, this is Al Gough, FBI. I'm here with my colleagues in L.A.

My God. Al, I know why you're calling. You want to know what I saw.

AL GOUGH: We all do.

FIONA BANKS: Okay. Um... We were sitting in my office.

AL GOUGH: What was the date?

FIONA BANKS: April 30.

AL GOUGH: What time?

FIONA BANKS: Uh, I don't know. Uh, 6:00 in the morning. Don't ask me why it was so early. Something to do with the Rutherford case.

AL GOUGH: Yes! Yes, and – and something interrupted us.

FIONA BANKS: Yes. Uh, uh, a bird. It flew at the window. It broke its neck.

AL GOUGH: So our visions were the same. (turns and looks at Mark)

The Flashes Edit

NEUROLOGIST: When the worldwide blackout occurred earlier today, people were undergoing brain scansat that exact moment.

MEDICAL CORRESPONDENT: So like MRIs or PET scans? That kind of thing?

NEUROLOGIST: Exactly. And in each of these cases, the hippocampus, that's the memory center of the brain, was actively engaged for the entire two minutes and seventeen seconds. These thought patterns are consistent with a waking experience. People were not asleep. They were not dreaming.

MEDICAL CORRESPONDENT: So then what is it that they were experiencing?

(Nicole watches while sitting with Charlie and cries softly)

NEUROLOGIST: Well, by all appearances, uh, memories of events that haven't occurred yet.

PUNDIT 1: So everyone saw the future. But did they see the same future? I mean, are these accounts consistent?

PUNDIT 2: Well, they certainly seem to be. Hundreds of thousands of people were watching news broadcasts, reading newspapers, and their details seem to be the same – Senator Glenway will be facing ethics charges. The Dow will be on an upswing. There'll be food riots in Ghana – and the list goes on.

(cell phone vibrating)

PUNDIT 3: A remarkably concise series of events are starting to come together from that day. It's like a grand mosaic is being filled in. Everyone on earth...

The Task Force Edit

MARK: Mosaic. That was the name of the investigation I was working on in my vision. It had to do with what caused all this.

STAN: So did you see anything in your vision that was helpful?

MARK: Photographs, names, people of interest. If this really was the future we all saw, then I guess maybe they will be leads, but none of them make any sense to me right now.

STAN: Anything else?

MARK: No. No, that—that was it.

STAN: (to Demetri) What about you? What did you see?

DEMETRI: Nothing. I, uh, I blacked out like everybody else and woke up on the road. What about our, uh, person of interest? Do we think she's involved?

MARK: She's a dead end, if you ask me, and clueless as the rest of us.

WEDECK: Well, circle back on it anyway. We're grasping at straws at this point. Janis, you wanna share what you saw?

JANIS: Yeah, I was... (chuckles) getting a prenatal sonogram.

(Flash Janis: Undergoing sonogram)

JANIS: The baby was about 17 weeks, and it was a little girl.

(Flash Janis: Undergoing sonogram)

JANIS: It was totally bizarre. But I'm obviously not pregnant. I don't even have a boyfriend.

MARK: What about you, sir?

STAN: I... was in a meeting. A meeting...

(Flash Stan: Stan is whistling and reading a newspaper while sitting on a commode.)

STAN: And I happened to glance down at the paper. Sports page. The Rays rallied from 3 runs down to sweep the Sox at Fenway. And there was another story. Kobe Bryant tore his ligament in his knee. Out for the season.

DEMETRI: You know what? We should start writing these stories down.

JANIS: Yeah.

DEMETRI: I mean, the "Post" has a circulation of what, a million?

STAN: A million, yeah.

DEMETRI: How many other people were reading it then, too? We gotta start comparing stories.

MARK: Yeah, it's not just the "Post." It's all the other news outlets. Seven billion people caught a glimpse of the future. Maybe just one of them knows why this happened.

DEMETRI: How do we compare 7 billion stories?

JANIS: You create a web site.

MARK: Right.

JANIS: People can log on and post what they saw and cross-reference their visions. We can piggyback on that and search for patterns.

MARK: I think that's what I was already doing.

WEDECK: What do you mean?

MARK: Mosaic. All those leads I was running down. We should start following up on 'em now.

DEMETRI: Assuming your vision is even accurate, the investigation doesn't exist yet.

MARK: But it could. It will. In my flash-forward, I was investigating what caused all this. I seemed to have an idea why all of this was happening. And those people, the places I saw on the board – They were part of this puzzle – Mosaic. Look, I'm certain of it.

STAN: Fine. We'll set up interagency task force. And as far as this office is concerned, you three, you own this.

DEMETRI: This is kind of insane. I mean, we're running point on this because he had a vision of us running point on this?

MARK: What, you – You find that funny?

DEMETRI: We don't even know –

MARK: Come on. It's the only lead we have.

DEMETRI: We don't have anything right now.

STAN: It works. It works for me. It works for me! The whole world's on pins and needles, people. Air traffic's been grounded. People scared to leave their homes, walk across the street. Hell, we've got martial law across half this country. Priority number one – Finding out what caused this. Priority number two is figuring out whether or not it'll happen again. You got it?

ALL: Yes, sir.

STAN: Good. I'm out.

Starting the Wall Edit

(Night has fallen in Los Angeles. A bulletin board on a wall in Mark's office has become a project board. Monthly calendar sheets for October 2009 through April 2010 are lined up in a row near the top. Demetri is attaching string to pins in October 6, 2009 and April 29, 2010)

DEMETRI: Okay, my psychic friend, what do you got?

MARK: I remember a name – D. Gibbons.

(Flash Mark: (Image of "D. Gibbons" written on yellow paper))

DEMETRI: Gibbons.

MARK: That's right. Yeah.

DEMETRI: What else you got?

MARK: There was a photograph here of a doll. (Flash Mark: (Image of burned doll head and bullet casing))

MARK: The doll was burned. The head was melted. There was a-a bullet casing nearby. Something about Baltimore. A hand. Baltimore... No. No, no, wait. Wait, wait, wait, wait. A... A "blue hand." That's what it said.

DEMETRI: What the hell does that mean?

MARK: I have no idea. Just put it up. (Demetri pins paper to board) No, no, no. Wait, wait, wait. Here, in the center. This is gonna sound stupid, but I was wearing one of those, uh... friendship bracelets.

(Flash Mark: (Image of "Friendship Bracelet" written on yellow paper))

MARK: You know, like kids make.

DEMETRI: Yeah. Okay, that's good. What else?

MARK: What else? That's it. Those are all the leads I can remember.

DEMETRI: What about your state of mind? What were you doing?

(Flash Mark: (Image of Mark drinking from hip flask))

MARK: (sighs) I was... chambering a round. I was scared to death.

DEMETRI: You were scared to death in here?

MARK: Yeah.

(Flash Mark: MARK: The office was empty, but... Someone was coming for me. They were wearing masks. They wanted to kill me because of what I knew. One of 'em had a... tattoo.)

MARK: How many D. Gibbons do you think there are in the world?

DEMETRI: Maybe thousands.

MARK: Have Janis compile a list. (sighs) Not a hell of a lot to go on yet.

Demetri's Fear Edit

DEMETRI: At least you remember something.

MARK: What do you mean?

DEMETRI: Everybody saw something. Everybody had some kind of a vision. I didn't see a damn thing, Mark.

MARK: Maybe it means you'll be sleeping six months from now.

DEMETRI: If I was sleeping, why wasn't I dreaming?

MARK: Look, I never remember my dreams.

DEMETRI: Stop, all right? We're both thinking the same thing, so let's just say it. What if I didn't see anything because six months from now... I'm gonna be dead?

Act V Edit

Evening at the Benfords' Edit

(crickets chirping)

NICOLE: Mr. Benford?

MARK: Are you all right?

NICOLE: Yeah. How's Charlie?

MARK: She's fine. She's sleeping.

NICOLE: I was watching the news all day. They say it happened everywhere.

MARK: It's gonna be okay.

NICOLE: Is that what they're saying at the FBI? Do you have inside information?

MARK: I wish we did.

NICOLE: So then you don't know it's gonna be okay. I think God did this.

MARK: Why?

NICOLE: To punish us.

A Quiet Hospital Edit

OLIVIA: Still no luck finding his parents?

BRYCE: Well, his mother died on the 405. Father's name is Lloyd Simcoe. He works at Stanford. But, uh, no one's been able to locate him yet.

OLIVIA: (whispers) Yeah. (normal voice) So even if the kid pulls through, he could still wind up an orphan.

BRYCE: Hey, you saved his life today. You chalk that up as a victory.

OLIVIA: Yeah, I'm trying, but after a day like today... What about you? How are you staying so zen through all this?

BRYCE: Who says I am? You wanna know why I wasn't at work yesterday?

OLIVIA: Mm-hmm.

BRYCE: I've been going through some really heavy things recently. I don't want to get into it now. But the—the point is... This morning, I was out on the Venice Pier, and... And I was thinking about committing suicide.

OLIVIA: Oh, my God!

BRYCE: It's okay. I'm--I'm okay. I saw a glimpse of my future, and... I was alive. You know, and everything's changed for me now. Whatever I was thinking about doing obviously wasn't meant to happen. It – it's like a sign from God or something. You know, these visions were a gift. Don't you think?

OLIVIA: A gift? I don't know. Not for me.

BRYCE: Why? What – What did you see?

OLIVIA: I saw the end of my marriage.

Confessing to Aaron Edit

(Mark and Aaron are standing in a darkened kitchen.)

MARK: I was drinking again, in my flash-forward. And in my head, I... I know it wasn't just a one-time thing. I was full-fledged drinking again. All the anxiety, shame. (whispers) It was all back.

AARON: Just because you saw that doesn't mean it's gonna happen. Even if this future stuff is real, maybe it's a blessing in disguise. Maybe because you saw it, you can change it. Ghost of Christmas future crap.

MARK: What if I can't?

AARON: People relapse. I did. You pick yourself up again.

MARK: Olivia said she'd – She'd leave me if I slip again. She made that clear.

AARON: Then don't slip. Until you see something that corroborates these visions, it – it's all fantasy. The future is still up in the air.

MARK: You're a terrible sponsor. You know that?

AARON: (loud) What do you want me to say, Mark? You're not the only one this – this has happened to, you know? (softly) I've got the opposite problem.

MARK: What do you mean?

AARON: Tracy was killed in Afghanistan. And you were at the funeral, right?

MARK: Right.

AARON: But in my flash-forward, she's alive.

(Flash Aaron: (explosion in distance))

MARK: Doesn't make any sense. They I.D.'d her remains.

AARON: I know. I can't explain it, but... It was her. I'm--I'm certain of it. And if she's out there somewhere, she needs me. For two years, I've – I've been putting her to rest. Now... I don't know what to think. I – I'm – I'm confused. I'm... hopeful. And I'm angry that I'm hopeful. (sighs) You're worried... your future's gonna come true. I'm worried mine won't.

Act VI Edit

Mark and Olivia – Flashes Edit

(Mojave 3's "All Your Tears" playing)

(Olivia returns from work; garage door whirring)

OLIVIA: You fixed the garage door.

MARK: It was a slow day.

♪ Where's the magic that you wear? ♪

♪ That keeps you safe and keeps you feeling free ♪

♪ Whose arms have held you ♪

♪ that you don't know who you are anymore ♪

MARK: Do you remember our song?


MARK: The one we danced to at our wedding.

OLIVIA: Etta James. "At Last."

MARK: (chuckles) Right.

OLIVIA: What did you see?

MARK: (sighs) I was at the office, working on a case. It was – it was this – What caused the flash-forwards. I got the sense I was in danger. Then... Then it ended.

OLIVIA: Nothing else?

MARK: No, that was it. What about you? (pause) Babe?

OLIVIA: I don't want to talk about it.

MARK: Why?

OLIVIA: 'Cause it was too upsetting.

MARK: I need to hear it, whatever it was.

OLIVIA: No. No, you don't.

MARK: (whispers) Come on. What did you see?

OLIVIA: You know what? Just... let it go.

MARK: (normal voice) Olivia, what did you see?

OLIVIA: (crying) I was with another man.

MARK: (whispers) Who?

Flash: Olivia

(Olivia is in her bedroom dressed in nightwear.)

OLIVIA: I don't know. I've never seen him before. He was downstairs. I don't know who he was, and yet my vision I had all these intense... (cries) feelings for him. I...

OLIVIA: (voice echoes; to man on couch) Hey, honey.

OLIVIA: I don't understand, Mark. I would never cheat on you. I wouldn't betray you. I wouldn't – I...

MARK: Just because we saw these things doesn't mean they're gonna happen.

Lloyd Simcoe Arrives Edit

LLOYD: Dylan!

BRYCE: Uh, I'm sorry. You are...

LLOYD: (British accent) His father Lloyd Simcoe. How is he?

BRYCE: He'll be fine. His attending physician, Dr. Benford, will be here in the morning. She can fill you in on some of the details.

LLOYD: Then I'll wait for her.

The Bracelet Edit

CHARLIE: (whispering) Daddy?

MARK: What are you doing up, sweetie? It's after midnight.

CHARLIE: I had a bad dream.

MARK: Come here.

MARK: You wanna talk about it?

CHARLIE: (normal voice) Why was Mommy crying?

MARK: Oh, she was just scared. It's gonna be okay.

CHARLIE: Are you scared?

MARK: No, honey. I'm fine. What do you have there? What do you got in your hand?

CHARLIE: Hmm? Something I made for you. I want you to have it.

(Flash Mark: (bracelet on Mark's wrist))

CHARLIE: Take it, Daddy. Do you want me to help you put it on?

MARK: Sure.

CHARLIE: Okay. There you go.

Suspect Zero Edit

(Demetri and Janis are working late at the field office. Demetri is talking to Zoey by phone; Janis is using her computer.)

DEMETRI: I'm still at work, babe.

♪ Islands in the stream ♪

DEMETRI: Mm, they got us working late.

♪ That is what we are ♪

DEMETRI: Yeah, I'm watching it right now.

♪ No one in between, how can we be wrong? ♪

♪ Sail away with me ♪

DEMETRI: If, uh, this is the song you want, you got it, baby.

♪ To another world ♪

♪ And we rely on each other, uh-huh ♪

♪ From one lover to another, uh-huh ♪

DEMETRI: Let's, um, let's talk about the future when you get home.

JANIS: Dem, come here. You have to see this.

♪ That is what we are ♪

DEMETRI: Gotta go.

♪ No one in between ♪

DEMETRI: I love you, too. (to Janis) What's up?

JANIS: Okay, so as far as we know, every single person on the entire planet lost consciousness at exactly the same period of time, right?


JANIS: Okay, so I started cycling through a bunch of surveillance cameras for the last five hours... because I was curious to see (hits key) what they recorded. I looked at hundreds of 'em. I checked every major city, even web cams in other countries... and they all show exactly the same thing. At 11:00 A.M., people start dropping like flies. Okay, and then 2 minutes and 17 seconds later, they start to come to. And then I saw this. (hits key) This was in Detroit.

DEMETRI: What am I looking at here?

JANIS: Just hang on a second. (hits keys) Right there. Look right there.

(Janis zooms the image on her computer to display a figure walking in a stadium during the GBO.)

DEMETRI: No way.

JANIS: Yeah. Who the hell is that? And why are they awake? (hits key)

(Figure walks to exit, pauses to look around the stadium, and continues into darkened exit.)

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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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