[Dew]

Episode 4 - Black Swan

Written by: Lisa Zwerling and Scott Gimple

Directed by: Michael Rymer
__________________________________________________ _______________

FOURTEEN DAYS AGO

[The episode commences with people enjoying a clear, sunny day at a park. Some are riding bicycles. Some are walking while others sit on the grass and enjoy the view. Birds and an airplane are in the sky. “It's Oh So Quiet” by Bjork is playing in the background.]

shh shh
It's oh so quiet
shh shh
It's oh so still
shh shh
You're all alone
shh shh
And so peaceful until...

You fall in love
zing boom
The sky up above
zing boom
Is caving in
wow bam
You've never been so nuts about a guy
You wanna laugh you wanna cry
You cross your heart and hope to die

'Til it's over and then
shh shh
It's nice and quiet
shh shh
But soon again
shh shh
Starts another big riot

[Everyone loses consciousness at the same time and fall to the ground. The camera pans to show different views of the park and more unconscious people. There is a lake in the park and everything seen surrounds it. A bus drives straight into the lake and sinks. Everyone on the bus is unconscious also. As the bus slowly fills with water, the skyline is full of plumes of smoke and fire. There is an explosion mid-air. One man on the bus is wearing headphones. His head is above the water line. Slowly, he regains consciousness. He takes his headphones off just as a woman comes up from underneath the water with a loud gasp. She begins to call for help in a foreign language. The man sees her and goes to help her.]

NED: It's okay. It's okay. You're gonna be fine. You're gonna be just fine, OK.

[Ned continues to help the woman. He counts using his fingers.]

NED: What we're gonna do is on one, two, three you're gonna take a big breath with me, okay? One, two, three.

[They both take a very deep breath and go under water. Ned leads the woman to a window. He kicks the window out, allows her to exit first, and the two of them swim to safety. Ned is relaying this experience in real-time at the hospital. He is talking to Olivia Benford. He is sitting in a hospital gown on a gurney. Dr. Varley is present also.]

NED: I wish I could've saved more people. I reached the surface, did the Australian crawl to the shore, and then I walked home. Oh and then I, you know, realized that the whole world had blacked out.

OLIVIA: That was two weeks ago. Is this the first time you've seen a doctor?

NED: Yeah. I didn't need one until now.

OLIVIA: Okay. Well, Mr. Ned…

NED: You can call me Edward.

OLIVIA: Edward…

NED: Wait. You know, call me Ned. My friends call me Ned.

OLIVIA: Ned Ned?

NED: Yes, Yes.

BRYCE: Hey, uh, how did you stay so calm?

NED: I don't know. I just was.

OLIVIA: Hmm. [looks at chart] It says here that the triage gave you morphine for your pain. Does that mean…

NED: Let me tell ya. They should call that stuff mor-fine 'cause that's how I'm feeling for the first time since the crash. [laughs]

BRYCE: Well, why didn't you come in sooner?

NED: It didn't start off so bad. You know I thought I'd maybe just bruised my spleen or something.

OLIVIA: Okay, Mr. Ned [pause] um, Ned. Whatever. Uh, I think with your low blood count and your pain, we should keep you in for observation and a C.T. Scan. All right?

NED: It's all gravy, Dr. Benford. Truly.

OLIVIA: Okay, good. Now after the blackout, do you remember what you…

BRYCE: [interrupts] Hey, your flash-forward. What did you see?

OLIVIA: [to Bryce] Not where I was going.

NED: You really wanna know?

[Bryce nods. Ned explains his flash-forward, which is shown in the background as he speaks.]

NED: I was rocking leather pants. I've never rocked leather pants.

[Ned's flash-forward is in a night/dance club. In the background George Clinton's Atomic Dog is playing.

Atomic Dog
Ruff
Ruff
Ruff
Why must I feel like that?
Atomic Dog

NED: [describes flash] It's always been on of my top three fears, along with clowns and escalators. But there I was rocking out at this bar that I've always wanted to go to by I've never gone to because I, I thought I'd be too nervous. That I'd be, well, too nervous but it wasn't that way. I was happy. I was at peace.

NED: [describes flash] Oh, and I was black.

BRYCE: Wait, you were [pause] black in six months?

[Olivia chuckles.]

NED: Yeah. Like Oprah. You know, African-American black.

OLIVIA: Okay. [chuckles] Okay Mr. Ned. [pause] Well okay. We'll see you later Mr. Ned.

NED: Okay.

OLIVIA: Yeah.

[Olivia pats Ned's hand as she turns and walks away. Bryce smiles at Ned and follows Olivia. Ned watches them walk away. He is not sure of what to make of the conversation.]

FLASHFORWARD LOGO

[Switch to an outside café of Zurika Coffee. Demetri and Zoey are having a conversation and a cup of coffee.]

ZOEY: So, they're your parents, so I think you should be the one to tell them that we moved up the wedding.

DEMETRI: Uh huh.

ZOEY: Though I'm sure a free trip to Hawaii still won't make up for the fact that I'm not Korean.

DEMETRI: Right.

ZOEY: Okay, where have you been for the last twenty minutes?

DEMETRI: I'm fine. It's just work stuff, work stuff. I've been trying to trace a call from, uh, an informant.

ZOEY: Is everything okay?

DEMETRI: Yeah, I'm here. Okay.

ZOEY: Uh, speaking of work, can I ask you something work-related? Are you guys Gitmo-ing a suspect downtown?

DEMETRI: No.

ZOEY: Some blonde, arrested the day of the blackout?

[A scene of the woman and two men exiting a building while Demetri was taking pictures of them.]

ZOEY: Bin Laden in Prada?

DEMETRI: I'm can't confirm or deny this, Zo.

ZOEY: I think you just did, sweetie.

DEMETRI: Wow.

ZOEY: But, professionally, if the Bureau is violating someone's due process, that's uncool. Personally, if that woman has anything to do with the blackout, I really hope you're getting all Dick Cheney on her ass to find out what she knows.

[Demetri smiles. Switch to the Benford residence. In the kitchen Charlie is sitting at the counter. Mark in on the other side and he is playing with an egg. He is the voice of the egg. He holds the egg like a puppet.]

MARK: Ladies and gentlemen.

[Charlie laughs.]

MARK: Ahem. As Eggbert, I would like to eggspress my desire for you to eat oatmeal this morning.

CHARLIE: You're silly, daddy.

MARK: Silly? Can I get a cluck-cluck?

CHARLIE: Cluck-cluck.

[Mark stand up and chuckles. There is a cookie jar shaped like a rooster. He picks up the top and holds the egg in front of it to continue the conversation.]

MARK: Cluck-cluck. Thank you muchly. I believe you know my mum.

[Olivia walks up behind him and clears her throat. As he turns to her, he drops the egg on the floor.]

MARK: Oh!

CHARLIE: Aw, Eggbert.

OLIVIA: Wow you really are the Shakespeare of cheesy dad humor.

MARK: Ah, you could play too. You could be zee French toast. Zee toast of love.

[Mark turns and hugs Olivia. She giggles. They kiss.]

OLIVIA: Good morning.

MARK: Good morning.

CHARLIE: Hey mommy.

OLIVIA: Hi sweetie. So guess who's picking you up from school this morning?

CHARLIE: Nicole?

OLIVIA: That's right, Nicole.

[Charlie laughs with excitement.]

OLIVIA: She missed you. She's ready to start babysitting again. Yay!

CHARLIE: Yeah, Nicole is coming back.

OLIVIA: Yeah, Nicole is coming back.

[Switch to a river in a park. Birds are chirping. The sun is glistening off the moving water. As they sit on a low fence, Aaron and Nicole are eating sandwiches.]

NICOLE: Thanks for breakfast. First time in a while I've been out acting like a normal person.

AARON: I know what you mean.

[Aaron helps Nicole off the fence. They walk along a towpath.]

AARON: You want an ice cream or something? Where was that place that Tracy used to take you when you were little?

NICOLE: They turned it into a Giant Juice when I was a freshman.

[They put their trash in a proper receptacle.]

AARON: Hmm. She spent all the money she made babysitting you buying you milkshakes.

NICOLE: I should get going. It's my first day back at the Benfords' so I don't want to be late.

AARON: Mark told me you went AWOL.

NICOLE: [pause] I'm sorry Aaron. You got me that job with them and I totally screwed it up.

AARON: If that were true, they wouldn't have asked you to come back. You know, Nicole, you're not alone. Everyone's freaked out by this, but I think we have to surrender to a higher power and have faith that whatever we saw, we saw for a reason.

[Aaron walks and Nicole stops with a concerned look on her face. Switch to the hospital. Bryce and Olivia are at a wall of vending machines. Olivia is putting coins in one.]

OLIVIA: So make cowbell lady N.P.O. We'll take her to the O.R. if she spikes again.

BRYCE: Yeah.

OLIVIA: And, uh, what happened to the scan we…

[The machine starts to dispense a bag of Fets Classic potato chips, then stops. The bag is stuck half out into the dispensing area.]

OLIVIA: Oh, come on. Come on!

[Frustrated, Olivia walks away from the machine. Bryce follows her.]

OLIVIA: Ugh! What did the scan show on our bus crash guy?

BRYCE: Yeah, Ned?

OLIVIA: Mm hmm.

BRYCE: Oh I, I can't stop thinking about that guy. I mean, how does somebody possibly go from being Caucasian to African-American?

[Annoyed, Olivia raises her head.]

BRYCE: I mean, if, if that's the vision that he saw in his future then I guess….

[The two stop walking and speak face to face.]

OLIVIA: Ugh. Bryce, I need you in the present, here, now.

BRYCE: Yeah.

OLIVIA: You know, patient care, doctoring, C.T. scan.

BRYCE: Still don't have it. E.R.'s got a bunch of traumas. They keep bumping Ned from the scanner.

OLIVIA: So, I ran into Dr. Fleming earlier.

BRYCE: Who?

OLIVIA: Blythe Fleming, the psychiatrist you're supposed to be following up with every week?

BRYCE: Yeah, well, it's just, you know. I've had my rounds and, um…

OLIVIA: Come on. Less than a month ago, you were standing on a pier with a gun.

[Snippet of Bryce's flash. Taking the gun from his backpack cocking the pistol and putting the barrel under his chin.]

BRYCE: Look, I know how it sounds, but trust me. Things have changed.

OLIVIA: If you wanna keep working here, you need to follow up with psych at least once a week. You got it?

BRYCE: Yeah.

[A tray comes flying out of a room onto the corridor floor. Lloyd is running to retrieve it. Dylan is screaming. As Lloyd bends to pick up the tray, he slips and spills a cup of coffee all over himself. As he wipes his shirt and starts to stand up, he sees Olivia and Bryce. Dylan is crying.]

LLOYD: Excuse me. Oh! Bollocks.!

[Snippet of Olivia's flash-forward. Standing at the top of the stairs, looking down at Lloyd saying, "Hey Honey," then back to real time.]

LLOYD: Sorry.

[Lloyd walks back into the room. Dylan is sitting up, grunting and moaning. Olivia and Bryce continue to walk.]

OLIVIA: [to Bryce] You know what? That Simcoe kid is off O-2 now. I wanna transfer him to physical therapy.

BRYCE: Yeah, but he's on I.V. antibiotics.

OLIVIA: [exhales] Just as soon as you can, okay?

BRYCE: Yeah.

OLIVIA: And I need that scan of Ned's, so wheel him to the scanner yourself if you have to.

BRYCE: Okay.

[Olivia walks away from Bryce who is still standing still. Switch to the FBI offices. Wedeck is speaking with Mark and Gough.]

WEDECK: You wanna go to Somalia now? Last week you talked me into flying you to Germany, because of an index card.

MARK: And it paid off.

WEDECK: Mm hmm. You found out some crows died in Somalia eighteen years ago. You know, your definition of "paid off" is a little different than mine.

AGENT GOUGH: If a blackout had happened before, that'd be major.

WEDECK: I agree, which kind of makes you wonder why we haven't heard about it before.

MARK: Evidence, Stan. There is evidence.

WEDECK: Last I checked, all you've got is a footnote in a C.D.C. funding request.

AGENT GOUGH: I have been working with Mark on trying to get satellite photos of the region from '91 out of Langley.

WEDECK: Mm hmm.

AGENT GOUGH: They've been giving us the runaround, so…

WEDECK: [interrupts] Maybe the C.I.A.'s just a little busy these days to dig through satellite intel from last decade. Guys, I get it. Germany didn't exactly work out and you're trying to stretch a single into a triple. I get it. But going to war with the C.I.A. is not the way to do it.

[Gough and Mark leave Wedeck's office and are walking together. Gough is rolling up his shirtsleeves.]

MARK: Hey, Al, remember that hacker we busted? You know, the one who broke into the D.O.D.'s network trying to take our overseas drones for a joyride?

AGENT GOUGH: Mr. Cheeto Dust?

MARK: Yeah, that's him. Don't you think he'd find Langley's mainframe a delightful challenge?

AGENT GOUGH: Yeah, he'd find it delightful. It's illegal. [pause] Whoa, spying on your own country? That's more than some procedural jujitsu. You're talking about a federal offense.

MARK: [exhales] Yeah. You're right. Where's Demetri?

AGENT GOUGH: Uh, he brought that hot blonde terrorist over from holding. He's questioning her now.

[Both men stop at a bank of elevators. Mark pushes the up button.]

MARK: Why?

AGENT GOUGH: I don't know, ‘cause she's hot?

[The elevator door opens and Mark walks in. Gough continues walking down the corridor. Switch to Demetri in a room questioning the blonde woman. She is sitting at a table, handcuffed. Agent Vreede is in the room also.]

ALDA: I'll repeat what I've said many times. My name is Alda Hertzog and I am an honest businessperson.

DEMETRI: Yeah, we caught you doing business on the day of the blackout. Remember? With known terrorists, selling them weaponized nuclear material.

ALDA: Then charge me with a crime. You can't hold me here indefinitely.

AGENT VREEDE: You're right. You should call your embassy and complain.

DEMETRI: Which embassy is that, by the way?

[Demetri starts tossing blue and burgundy covered passports on the table in front of Alda. There are six passports.]

DEMETRI: We wanna know 'cause, uh, we want to get you the right phone card.

ALDA: I'm truly flattered that you still feel the need to talk to me after all that's happened. But I've done nothing wrong. It's my associates who you want.

DEMETRI: Honey, your associates died on the day of the blackout. They were super dead. [pause] So you wanna give me somebody else?

ALDA: [tapping finger] Customer Choice Restaurant Group.

[Agent Vreede starts typing on his laptop.]

AGENT VREEDE: It’s in Indio. Town comes up a bunch of times in wiretaps, but we never found out the significance.

ALDA: [tapping finger] Customer Choice Restaurant Group. That's all I have for you today.

[Demetri walks around the table. He stops behind Alda and puts his hand tightly around the top of her skull. This surprises Agent Vreede.]

DEMETRI: You are running out of time for this to continue being a civil conversation.

ALDA: Really, Agent Noh? Here I thought you were the one running out of time.

DEMETRI: What'd you say?

ALDA: You really should get out there before it's too late.

[Demetri looks at Alda in silence. Switch to Mark and Demetri in Wedeck's office.]

MARK: [to Wedeck] I'm not, I'm not getting this. Instead of following up on the Somalia lead, you want to re-open the dirty bomb case?

DEMETRI: [to Mark] We never closed it and Somalia is not a lead. It's an urban myth at best. [raises voice] Meanwhile, back on planet Earth, we have a material witness…

MARK: In a weapons deal.

DEMETRI: That broke on the day of the blackout. Okay, so maybe it's not as sexy as dead poultry in Africa, [angry, raises voice] but you gotta admit the timing's a little hinky here, Mark.

[Mark and Demetri are yelling at each other as Wedeck watches.]

MARK: It's a coincidence.

DEMETRI: So what if it is? It is a legit lead on a terrorism investigation, which is kind of what we do around here.

WEDECK: Agreed. [to Mark] Send me a postcard from Indio.

[Everyone is silent for a moment. Mark gives Wedeck a thumb's up.]

MARK: Okay.

[Mark and Demetri exit Wedeck's office. As they walk Mark confronts Demetri.]

MARK: What the hell's the matter with you?

DEMETRI: I just want to be an FBI agent today. All right? Life is short.

[Switch to the hospital. Olivia is in a cafeteria getting a coffee and a snack. She gets in line for the cashier. Lloyd approached the cashier line. Olivia is looking away and doesn't see him.]

LLOYD: Thank you for putting up with me.

OLIVIA: Hi, Mr. Simcoe.

LLOYD: I'm afraid I'm the annoying parent who always wants a thousand details. I'd like to apologize for that.

[Olivia looks at Lloyd, shakes her head but says nothing then moves along in the line.]

LLOYD: I can tell it makes you uncomfortable.

OLIVIA: No, it doesn't. Doesn't make me uncomfortable at all.

LLOYD: Sorry about the little outburst this morning. The tantrum in the hallway. The unidentified flying meal tray.

[Olivia goes through her pocket looking for money to pay for her coffee and snack.]

LLOYD: It’s his autism.

OLIVIA: Mm hmm.

LLOYD: I, I really don't know what to say to him when he's like that.

OLIVIA: Oh, sometimes you can’t say anything. You just have to be there.

[Olivia pays the cashier and receives her change.]

OLIVIA: [to cashier] Thanks.

[Olivia walks to the table with the cream and napkins are. Lloyd pays the cashier for his coffee.]

LLOYD: [to cashier] Thank you.

[Lloyd walks over to Olivia. She is pouring cream into her coffee cup.]

LLOYD: Yeah, unfortunately I haven't really been there since our separation. Uh, you know, work picked up and um, well, I barely know him.

OLIVIA: Well, you're here now. It’s what counts. A good night's sleep might help.

[Olivia turns and begins to walk away.]

LLOYD: Yeah, well despite the luxury of two rigid plastic chairs in Dylan's room, the sandman has proven a bit elusive.

OLIVIA: Well, you shouldn't be sleeping in his room every night.

LLOYD: Well, actually, the police brought me the keys to his mother's house. I just can't bring myself to go there for some reason.

OLIVIA: Well, you should try. Maybe being in Dylan's room, around his things, might give you some sense of who he is. Too much time in the hospital is not good for anyone, Mr. Simcoe. You hang in there.

[As Olivia walks away, Bryce runs up to her. Lloyd exits the opposite way.]

BRYCE: Hey, Dr. B. I, I got that scan that you wanted. I was just gonna grab a veggie dog while it prints out.

OLIVIA: Transfer Dylan Simcoe to Physical Therapy.

BRYCE: But I thought you wanted him to….

OLIVIA: [interrupts] P.T. can handle the antibiotics. Just transfer him.

BRYCE: Okay.

INDIO, CA

[Switch to an overhead shot of a community then to the inside of a diner. Mark is sitting at a booth while Demetri speaks with the a diner worker.]

DINER MANAGER: I don't understand what all this is about.

MARK: Welcome to my world.

DEMETRI: This restaurant came up in a confidential investigation. We need the names and addresses of every employee.

[The man hands Demetri some papers.]

DEMETRI: The list, please. Thank you.

DINER MANAGER: Burgers and waffle fries, that's all we do, well for now at least. We're going to be adding frozen yogurt, in, you know, the future.

DEMETRI: So, this place is owned by Customer Choice Restaurant Group?

DINER MANAGER: Uh, this place is Customer Choice Restaurant Group. We're not quite a group yet.

DEMETRI: Would you give me and Agent Noh a moment, please?

DINER MANAGER: Sure, yeah. [pause, yells to the counter cook] Uh, somebody get some burgers for these FBI guys, please?

[A dark skinned man turns as soon as the manager starts yelling. He stops and listens.]

MARK: [sarcastically to Demetri ] Wow, I can't believe I didn't want to come here today. I mean the intel [pause] they're adding frozen yogurt.

[Demetri looks back at Mark]

DEMETRI: Mark….

[There is a loud banging of trays and silverware. The cook takes off his apron as the runs to the back section of the diner. Mark and Demetri turn and look. Demetri pats Mark on the arm and they start running after the cook who grabs a backpack as he runs. The cook exits the back door, still tearing of his uniform and runs down the handicap ramp. He is wearing a dark skullcap. Demetri is the first one outside. He yells as he runs].

DEMETRI: Freeze! FBI!

[The cook jumps over a concrete wall. Demetri follows then Mark scales and goes over the wall. The pursuit continues. The cook comes upon a chain link fence, pulls back some of the links and runs through onto the sidewalk. Cars are honking horns and some have their tires screech as they slam on the brakes. The man stops for nothing. He jumps over a car then scales another fence that has a carpet draped across the top. Demetri is coming through the hole in the chain link fence.]

DEMETRI: Freeze!

[Demetri scales the wall and continues to pursue the cook. Mark slides through the fence and has a bit of difficulty scaling the wall.]

MARK: [groaning] Aah!

[Mark and Demetri are now in a trailer park. There is a trumpet playing in the distance. It plays through the entire pursuit. Demetri stops in a roadway and looks around trying to acquire his bearings. Mark catches up to him.]

MARK: [to Demetri] Go left. I'll take right.

DEMETRI: Gotcha.

[Mark runs between two trailers. He runs past the man playing the trumpet. Switch to the cook. He has stopped between two trailers. He looks out, sees no one and begins running again. Demetri is running along the roadway and looking between and under the trailers and sees the cook. The cook quickly changes directions and begins running again with Demetri behind him. As Demetri runs between two trailers, a woman opens a door and slams Demetri in the face. He falls back to the ground. She quickly goes back in the trailer. The cook turns and runs between two different trailers and encounters Mark who is now on the roadway. The cook turns around and runs. Mark continues up the roadway and turns in between two trailers. He stops immediately upon encountering a barking and snarling dog with very big teeth on a chain. Mark backs out and starts looking around. He sees nothing. Looking at the ground he sees a chain and medal that the cook was wearing. The medal is shaped like a trophy and it reads PIMP. Suddenly the cook jumps out of a trailer and knocks Mark out of his way.]

MARK: Ugh!

[The cook runs past Mark and Mark pursues. He catches up to the cook and pulls him down to the ground into a child's plastic pool. The both grunt as they hit the ground. The cook loses the backpack. Mark is on top of the cook. Demetri catches up. Mark pulls the cook's arms behind his back.]

MARK: Come on. Come on. Come on!

DEMETRI: You got him!

[The cook is shouting. Mark takes out his handcuffs.]

MARK: Give me your arms. Give me your arms. [to Demetri ]Yeah. [to the cook] Get up man!

[As Mark cuffs the cook, Demetri walks back to retrieve the backpack.]

DEMETRI: Why you running man?

[Mark brings the cook to his feet.]

MARK: Get up. Get up!

DEMETRI: I thought we were just coming in for a burger.

[Mark moves the cook away from the pool as Demetri opens the backpack.]

MARK: On your knees! Get on your knees!

[The music stops. The dog is still barking in the background.]

DINER COOK: [strong foreign accent] I heard what you're being. FBI can be biting my ass.

[Demetri pulls a silver metal attaché from the backpack.]

DEMETRI: Oh hello! Yellow cake uranium, Mark. Black market nuclear material. [panting] Or do you thing we should leave it her, go back to your office and stare at your bulletin board?

DINER COOK: You don't be wanting this. Yo!

[Angrily, Mark grabs the attaché from Demetri and begins to open it.]

DEMETRI: Hey!

[As Mark opens the attaché, he finds numerous small plastic bags filled with dried leaves. He dumps the contents on the ground.]

MARK: Yellowcake.

[Tossing open attaché to the ground.]

MARK: It's the type of strain. The type of weed he's slinging!

DINER COOK: It’s the sickest strain 'round, yo.

[Demetri slowly goes to pick up the attaché and its contents.]

DINER COOK: In my flash-forward I'm driving pimping ride. Nineteen inch rims, yo. I must be going to be Scarface of pot. You can't be fighting fate, yo.

[The cook laughs. Demetri turns around and kicks him in the face.]

DEMETRI: Shut up!

DINER COOK: Aah! Aah! Truth hurts, pig!

[Mark tries to pull Demetri off the cook. Demetri resists.]

DEMETRI: Get off of me! Get off!

MARK: What are you doing?!

[Demetri pushes Mark to get back to the cook. Mark restrains him.]

DEMETRI: I was sick of his mouth!

MARK: [pushes, yells] I'm talking about today! I'm talking about you! Racin' around looking for someone to shoot! Just drop your personal crap and do your job.

DEMETRI: [yelling] Hey, I'm doing something! I'm not sitting on my ass waiting for clues to appear to me in my dreams!

MARK: [pointing] Oh, give it a rest. This isn't about what I saw, it’s about what you didn't.

[Demetri punches Mark in the face. Mark totters back a bit. Mark holds his jaw and checks for blood.]

DEMETRI: March 15th. Three shots to the chest. I'm not just gonna die. I'm gonna be murdered.

[Demetri turns and walks away from Mark. Marks stares back at Demetri. Switch to the police putting the cook in the backseat of a squad car There is indistinct chatter on the police radio. Mark is leaning on the rear, right quarter panel of the car. As the car pulls away, Mark walks over to Demetri the walks to the side.]

MARK: How'd you find out?

DEMETRI: Anonymous call. [pause] The woman said she read it in an intelligence briefing. That's all she gave me.

[Dog barking in the background. Mark walks back to Demetri.]

DEMETRI: Mark, I'm sorry I didn't tell you but I thought maybe I could find who's gonna kill me or get a lead on them. I don't know….

MARK: Why would you think there was anything out here?

DEMETRI: Alda said I was running out of time.

MARK: That was it?

DEMETRI: Yeah.

MARK: Dem, Alda's a pro. She knows you're vulnerable and she pulled a number on you.

[Demetri stares at the ground.]

DEMETRI: [whispers] All I can hear is the clock ticking. Every day. [regular voice] What am I supposed to do?

MARK: Somehow you get past the fear and you fight.

DEMETRI: How?

MARK: You know what I saw.

[Snippet of Mark's flash in the background as he speaks to Demetri. [In his office, at his desk, looks up and sees two red laser sites trying to acquire their target, Mark against the side of the doorway holding his handgun, back to real time.]

MARK: I'm in my office, staring at the Mosaic board, and men are coming in to kill me. You and I are partners. If they're coming to kill me, they're probably after you, too, or gonna be.

DEMETRI: It's the future Mark. W, why do you think you can stop it?

MARK: Because we saw it. We can use what we saw to stop what we saw. Demetri, we can solve your murder before it happens. That's why I wanna put everything we have on Mosaic. For you. For me. For everybody.

[Demetri pauses, swallows and nods.]

MARK: Now can we get out of here?

DEMETRI: [pause] Yeah, we can.

[Switch to the hospital. Lloyd is putting on his jacket. He walks to the nurses' station where Bryce is seated.]

LLOYD: Excuse me.

BRYCE: Hey, Mr. Simcoe. Stepping out for a bit?

LLOYD: Just, uh, following some advice.

[Lloyd hands a spiral notebook to Bryce.]

LLOYD: I think you left this in Dylan's room.

BRYCE: Oh, uh, thanks.

[Bryce looks down at his sketch of a woman.]

LLOYD: She's beautiful.

BRYCE: [smiles] Yeah.

LLOYD: Your girlfriend?

BRYCE: Um, we haven't actually met.

[Bryce closes the notebook. In the background a television broadcast is heard. Lloyd looks up. A female is reporter in on the TV. In the upper right hand corner of the screen is a picture with the logo for Mosaic Collective.]

NEWS REPORTER: Coming up soon, a Glendale postal worker uses the Mosaic website to meet the police officer he believes is going to save his life in the coming months. You won't wanna miss this. But first… [fades

BRYCE: [to Lloyd] Ah, it's incredible, isn't it?

LLOYD: A temporal anomaly in global consciousness. [deep breath] Yeah, I think that qualifies.

BRYCE: So what'd you see?

LLOYD: [snicker] Oh, I guess this is the new, "how's the weather," isn't it?

[Bryce sits back and shrugs his shoulders.]

LLOYD: [pause] Well then, why not? Um…

[Lloyd's flash-forward is in the background as he tells his story to Bryce. Lloyd is standing shirtless, looking at his cell phone, sits on a sofa with his left hand on the arm, propping up his head, children's shape toys on the floor, a basketball, the sound of children in the background, Olivia saying, "Hey honey." Turns his head toward the voice. Real time.]

LLOYD: I was in a house, not my own house. I got a call from someone. I don't know who it was, but it was urgent. Dylan was nearby, maybe in another room. I heard a woman's voice. [Hey honey] I turned towards it and it was over. Um, I never saw her face but I knew that we were together. [pause] That she was important to me somehow.

BRYCE: I know exactly what you mean.

[A nurse hands Bryce the scan films in a large manila, open-ended envelope. Olivia is heading to the nurse's station. She sees Lloyd and turns around and walks in the opposite direction. Bryce sees her.]

BRYCE: Thank you. Um, excuse me one, one second. I'm sorry. Dr. Benford!

[Bryce gets up and jogs to catch up with Olivia.]

BRYCE: Dr. B. Dr. B!

[Olivia stops and Bryce hands her the envelope.]

BRYCE: Ned's, C.T.

OLIVIA: Oh, great.

[She takes out the films and looks at them with Bryce. She points out something.]

OLIVIA: Whoa. Big hematoma. Blood's been gathering around the liver since the bus crash. Ned's lucky he showed up here in time.

BRYCE: Well, no, it’s not luck. It's [pause] I mean, he was alive in his vision so clearly he made it to the hospital…..

OLIVIA: [interrupts] Oh God, enough about visions, Dr. Varley.

BRYCE: No, Dr. Benford, it's relevant data.

OLIVIA: It's not data. It's not data any more than the dream I had last night.

BRYCE: Look, I, I don't understand how you can ignore something that even the most skeptical people in the world think might be real.

OLIVIA: [annoyed]I'm not ignoring the flash-forwards. I'm just not bringing them into the practice of medicine. Now consent Mr. Ned for surgery and meet me in the O.R.

[Olivia walks away. Bryce looks at her baffled. Switch to the E.R. room where Ned is sitting up a bit in bed signing papers while Bryce speaks to him.]

BRYCE: Oh, with any surgery there's a risk of infection, blood loss, drug allergy and even death, Ned.

[Ned hands the chart back to Bryce.]

NED: It’s all gravy.

BRYCE: You know it's okay if you've got questions or if you're worried.

[Ned puts his hands up to stop Bryce speaking.]

BRYCE: Uh, this is a major surgery.

NED: I get it. You're telling me I need some sort of drug allergy-death-surgery. I'm totally cool with it. I mean I know it sounds weird but, some kind of change is happening. I mean I don't feel nervous or afraid of, like, anything.

[Snippet of Ned swimming in the sunken bus is in the background. Pushing out the window, swimming to safety. Real time]

NED: I mean, all that worrying all the time. It's just like kept me from being the me I'm supposed to be. Six months from now I see myself and I'm like this invincible, fearless black guy, like Shaft or Bryant Gumble. And knowing that, it's already changed me.

[Bryce smiles at Ned then pauses and shakes his head a bit. He is no longer smiling. Switch to the outside of a church with the bells tolling. Switch to inside the church. A t-shirt with a picture of Jesus and words that read, "Jesus is my Episco-pal. A man is heard in the background.]

MINISTER: Hello.

[Nicole is sitting in an office lined with shelves full of books. The door to the room squeaks open. A minister walks in, closes the door behind him and Nicole stands up. He is having a conversation on his cell phone.]

MINISTER: Oh. Yes, yes, Rabbi Hirscholtz. Oh fifteen in the last two weeks.

[He motions for Nicole to take a seat. Continues conversation on phone.]

MINISTER: Four, uh on Sunday. Actually I didn't leave the cemetery until after sundown. Bye.

[He shuts off his phone and turns to Nicole.]

MINISTER: Oh, I'm sorry. I'm so sorry about everything. It's been so busy with everything. So how can I help you?

NICOLE: I, um….

[She stops speaking and listens to the sound of crickets. The minister looks at a desk drawer and laughs. He takes out a box.]

MINISTER: Oh, I'm sorry. I keep crickets. Oh, I really like the way they sound. So, Paige, you were saying?

NICOLE: Paige is my sister. I'm Nicole.

MINISTER: Oh.

NICOLE: I only come on Christmas and sometimes on Easter.

[The minister waves her comment off.]

NICOLE: But that's gonna change. I, um, I wanna help out. I wanna start doing some volunteer work in the morning before I have work and…

MINISTER: [interrupts] That's great. Uh, but as far as volunteer work goes, we are full up. See, in a crisis like this, people they really wanna…

[Nicole bows her head. The minister pauses.]

MINISTER: Well, people need to help. Uh, why don't you, why don't you tell me what this is all about?

[Snippet of Nicole's flash-forward. Bubbles are in water and Nicole struggling in the water. Real time]

NICOLE: How do I atone for something I haven't done yet?

MINISTER: [caught off-guard] Uh…

NICOLE: In my flash-forward I felt like I was being punished.

[Snippet of water in the background.]

NICOLE: Do you think, do you think God made this happen?

[The minister sits with his hand to his chin. He is thinking.]

MINISTER: Y, y, you know, it's, it's really hard to believe that there's not a divine hand involved somehow. I tell you what. This right here is Audrey Ridgeway's phone number. She is the volunteer coordinator.

[He takes the paper from the pad and hands it to Nicole. He puts down his pen and is now standing behind his desk.]

MINISTER: I hope she can help. [clears throat] Here's a t-shirt. Bye.

[He walks away from Nicole, leaving her sitting in the room alone. Switch to hospital. Bryce is sitting at the nurse's station, in front of a computer screen, and types. He is searching for information on pigment change. He has all his attention focused on the screen. He quickly gets up and walks rapidly to Ned's bed. He pulls open the curtain. A nurse is stripping the linens from the bed.]

BRYCE: Where's Ned?

NURSE: O.R. took him.

BRYCE: When?

NURSE: Ten, fifteen minutes ago. What's wrong?

BRYCE: Call the O.R. We're about to kill our patient.

[Bryce rushes out of the room and to the O.R. Normal OR sounds are heard such as beeping and oxygen is being pumped. Various people are in the theatre section. Olivia is in a small room visible through a window. She is scrubbing for surgery when Bryce enters.]

BRYCE: We can't operate. I couldn't figure it out. I couldn't make sense of it but now I've got it. Ned has Addison's disease. Surgery could kill him.

[The scene of the bus crashing into the lake then a snippet of Ned's flash-forward is shown in the background as Bryce speaks.]

BRYCE: In the bus crash, he was calm in the face of an insane disaster. And again today, he spoke about his flash-forward.

OLIVIA: Oh, Bryce, please.

BRYCE: And again he mentioned that he was weirdly calm and black.

OLIVIA: You better scrub if you want in on this case.

[Another snippet of Ned's flash-forward showing him with darkened blotches of skin on his face.]

BRYCE: If he's got Addison's then his body is making melanin compounds instead of adrenaline. That's why his skin is going to get dark.

OLIVIA: Yes, I know what Addison's disease is.

BRYCE: And without adrenaline, his body can't mount the proper stress response. That's why he's so serene in the face of this surgery.

OLIVIA: [angry] Ugh Bryce! Stop!

BRYCE: And without stress hormones his body will be unable to adapt to surgery. His blood pressure will tank and he'll die.

OLIVIA: No, without surgery he'll die.

[Olivia and Bryce are now arguing over each other's voice.]

BRYCE: Listen, you're not listening to me. In his vision, he saw…

OLIVIA: [angry] Enough about visions!

BRYCE: He needs hydrocortisone.

OLIVIA: No, I'm not administering a potentially harmful drug because a patient had a freaky dream.

BRYCE: They are not dreams.

OLIVIA: Look, I don't know what you saw and I don't care. But it is affecting your professional judgment and it needs to stop.

BRYCE: How about your professional judgment?

OLIVIA: Excuse me?

BRYCE: Come on Dr. Benford. You know why you don't want to believe…

OLIVIA: Oh you don't want to do this Bryce.

BRYCE: …in your flash-forward. You said it yourself. You saw the end of your marriage.

OLIVIA: [very angry] Oh you are so out of line, doctor.

BRYCE: And you sticking your head in the sand is gonna end up killing our patient.

OLIVIA: No. You know what's gonna kill our patient? Wasting any more time arguing because he's lying on that table continuing to bleed. Now that's not from a magic eight ball or ouija board, or some kind of vision. Right here, right now. That's real. Don't bother scrubbing in.

[Olivia walks into the OR while Bryce stays behind the window and watches. IKO's "Look What You've Done to Me plays in the background. The scene switches back and forth from the OR to Lloyd entering his wife's house.]

Oh look what you've done to me
I'm in pieces around your feet
And no, don't take back what you said

[Lloyd picks up the mail on the floor. He is in the living room. He closes the door and looks around. He stops to look at a picture of Dylan and his wife on the mantle. There is a picture of just Dylan next to it. He walks into the dining room and there is a basket of partially folded laundry on the table. He looks into the kitchen and notices a calendar on the wall with most of the boxes filled in with notes, such as, Tuesday, 2PM Speech Therapy, Wednesday, 11:20A OCC, Thursday, 3P Speech Therapy, Friday, 10A Dr. Genevieve. There is a picture of Dylan and a picture in a wooden frame of Lloyd, Dylan and his wife walking, all holding hands. A shot of Dylan's room. There is a stuffed kangaroo on the dresser and a figurine of spaceman with his helmet on.]

She's on an aeroplane
While, I, just learned how to stay
And yeah it's all very well
It's all very well but is it love
Oh look what you've done to me

[Lloyd walks into Dylan's room and sees the stuffed kangaroo and the spaceman on the dresser. He continues to look around. He walks over to a desk that is placed in front of a window. Look looks a drawing that Dylan made. The caption is, "My Family." It is a picture of a house, Dylan and his mother. Lloyd bows his head. He notices a book on the desk entitled, "A Modern Magician's Handbook." He picks it up, sits on the edge of the bed and fingers through the book. Switch to the O.R. Bryce watches the surgery proceed. Olivia is working inside Ned's abdominal cavity.]

OLIVIA: Retract the duct a little more laterally. Yeah.

[She takes another instrument.]

OLIVIA: Suction.

OR DOCTOR: Anyone make it to grand rounds today? This guy from Yale says that he can enhance memory of the flash-forwards using a calcinurin antagonist.

OR ASSISTANT DOCTOR: Yeah, I was there. Pretty cool.

OR DOCTOR: Yeah.

OLIVIA: Irrigation, please.

[A monitor starts beeping rapidly. All look at the monitor.]

ANESTHESIOLGIST: BP's 78 over 54.

OLIVIA: Stay clear of the hepatic artery.

NURSE: 800 CCs out.

ANESTHESIOLGIST: Guys, systolic's in freefall.

OR ASSISTANT DOCTOR: Must be another bleeder somewhere.

OLIVIA: Or some kind of fluid shift. Get another unit on the rapid infuser.

OR ASSISTANT DOCTOR: Tributary's ligated.

NURSE: Run of 6.

OLIVIA: 100 of Lido right away.

[The monitors keep beeping rapidly. Everyone in the OR is working briskly. Bryce watches from the scrub room. Another monitor changes to a solid tone.

ANESTHESIOLGIST: He's in V-TAC.

OR ASSISTANT DOCTOR: No pulse.

OLIVIA: Damn it! Code cart and a mig of EPI. Let's go! Let's go!

ANESTHESIOLGIST: Lido's in.

OLIVIA: Where's the cart? Where's the cart?!

[Bryce continues to look from the scrub room. He has his fist to his mouth. The monitor is still emitting a continuous tone. Everyone is moving very quickly in the OR. The nurse hands Olivia the paddles from the a defibrillator.]

NURSE: You're charged for 360.

OLIVIA: Clear.

[The paddles emit a charge, Ned's body jerks a bit. Monitors show no change. The situation is critical.]

OR ASSISTANT DOCTOR: No change.

OLIVIA: Going again. Clear.

[Bryce has his back to the window. The monitor is still a continuous tone. The OR Doctor is giving manual CPR to Ned's heart.]

ANESTHESIOLGIST: Fourth EPI's in.

OLIVIA: Chase it with Lido.

ANESTHESIOLGIST: He's had five rounds.

OLIVIA: Amiodarone then. This makes no sense. This makes no sense at all.

[Bryce stares at Olivia from the scrub room. Olivia closes her eyes and turns her head. She is thinking. Bryce is nervously watching.]

OLIVIA: 100 migs of hydrocortisone. IV push.

[The doctor administering CPR looks over at Olivia.]

OLIVIA: He's got adrenal crisis. He's got Addison's disease.

ANESTHESIOLGIST: What? Nobody bothered to tell me this?

OLIVIA: He hasn't been diagnosed yet.

ANESTHESIOLGIST: Addison's would explain the lack of response to fluids and pressors.

OLIVIA: Exactly. Hold compressions.

OR ASSISTANT DOCTOR: Holding.

[They all watch the monitors. The continuous tone stops. The beeping is steady. The lines are flat. One monitor shows green graph spikes on the top gauge.]

ANESTHESIOLGIST: Normal sinus.

[Bryce takes a deep breath in the scrub room. The OR team is relieved.]

ANESTHESIOLGIST: Good carotid.

NURSE: Nice catch Dr. Benford.

[Olivia pauses and looks down at Ned.]

OLIVIA: [pause] Let's close him up.

[Switch to the FBI offices. It is nighttime. Alda Hertzog is back in the interrogation room. Mark is sitting across the table from her. She is still in handcuffs.]

MARK: What do you know about Agent Noh's murder?

ALDA: His murder? [chuckles]

MARK: Something funny about that?

ALDA: Just that I knew he didn't have a flash-forward. I had no idea he was going to be murdered [pause] till now.

MARK: Then how did you know he didn't see anything?

ALDA: Because your partner posted in on the internet. Because everyone in this office knows.

MARK: Any particular reason why you felt the need to waste the time of the agents investigating the blackout?

ALDA: In all likelihood, nothing I tell you will be the truth. So why persist in asking?

MARK: Asking questions is my job. So let's start with a simple one. What do you know about the blackout?

ALDA: That's not a simple question.

MARK: All right. You ever been to Somalia?

ALDA: Can’t say I've had the pleasure.

MARK: What about Detroit? Utah?

ALDA: You're wasting your energy on what caused the blackout, who's responsible. You're ignoring the most profound question of all. Why?

[Mark looks back at Alda and says nothing.]

ALDA: Do you know what a black swan is? It's a metaphor used to describe a high-impact event.

[Snippet of Mark standing on top of a car right, walking the streets after the blackout ended. Kangaroo hopping in the street and Mark watching.]

ALDA: Something so rare it's beyond the normal realm of human expectation. It comes from the 17th century when scientists assumed that all swans were white. They were wrong.

MARK: Fascinating.

[Alda speaks Farsi, an Arabic language, to Mark. He translates.]

MARK: "There's a room. A small boy enters with a candle." What is this, a bedtime story?

ALDA: It's a Sufi parable. The man in the room, referring to the candle asks, "Tell me where this light comes from" and the boy blows out the candle and replies, "If you tell me where this light went, I'll tell you where it comes from."

MARK: Cute.

ALDA: Your partner's right about one thing. I commune with some very dangerous people. I'm friends with those willing to don suicide vests in the name of ideology. I know when a man is willing to sacrifice anything for his cause and you're not that kind of man, Agent Benford. Even if you were to start asking the right questions, you're not willing to do what it takes to get the answers. You're that little boy, Agent Benford, alone in the dark.

[Mark emotionlessly looks at Alda. Switch to an atrium. A man is mopping the floor as two women chatting walk along. Agent Gough is sitting in his office in front of a computer monitor. He types and waits for a response. The Mosaic Collective logo appears. He opens a search window and enters Celia. He waits for a response. Various little windows open showing a post in each one. He puts his head in his hand. Mark enters.]

MARK: Hey, Al.

AGENT GOUGH: [closes laptop] Hey, man.

MARK: Hey. Remember that hacker? Mr. Cheeto Dust? Give him a call.

AGENT GOUGH: You sure? Is Somalia really that important?

MARK: Yeah. It's time I got out of the dark.

[Switch to the hospital. Bryce is speaking with Ned after he awakes in the recovery room. He is still groggy from the pain medications.]

NED: Addison's disease? Who's Addison?

BRYCE: Well, uh, he was the guy who discovered the condition. It's a hormonal imbalance that makes surgery very dangerous. But, uh, luckily, Dr. Benford realized it in time and gave you the medication that saved your life.

NED: Wow. Thanks, Dr. Varley.

BRYCE: Hey, we should thank you.

[Bryce's pager beeps. He checks it then puts it back in his pocket.]

BRYCE: Your flash-forward helped us piece it together. If you hadn't told us what you saw, you might have died on the table.

NED: It's pretty cool. I wasn't afraid because I didn't need to be afraid. The future saved me.

[Bryce draws the curtain, sees Olivia and walks over to her.]

BRYCE: Uh, Ned's crit is, is stable.

[Olivia and Bryce walk together.]

OLIVIA: Look, about earlier…

BRYCE: I was completely out of line.

OLIVIA: Yeah. But you were also right. I just didn't want to see what was going on with Ned because of what's going on with me, so…

BRYCE: Look, I, I, I get it. It's what's happening with me. That's what made me believe him.

OLIVIA: Mm hmm. [pause] Bryce, I haven't pushed you 'cause you didn't want to talk about the …

BRYCE: Me standing on the pier with a gun to my head?

OLIVIA: I just want you to know that I'm here if you want to talk.

BRYCE: Thanks, Dr. B but, uh, I'm gonna be all right.

OLIVIA: You really think you're just okay now?

BRYCE: I know I am. The future saved me.

[Bryce smiles and walks away from Olivia. A nurse approaches Olivia.]

NURSE: Oh, uh, Dr. Benford?

OLIVIA: Hey.

NURSE: I need you to sign the discharge on the rollerblade guy so I can roll him on out of here.

OLIVIA: Sure.

NURSE: Oh, and Dylan Simcoe's white count spiked to nineteen. Here's his C.B.C.

OLIVIA: He was transferred to Physical Therapy. Can you give it to his attending?

NURSE: The chief transferred him back.

OLIVIA: What?!

NURSE: P.T.s said they couldn't handle the antibiotics so the chief put him back on your service.

[Olivia stands silent, looking down at the floor.]

NURSE: Are you okay. Dr. Benford?

OLIVIA: Yeah. Fine.

[Switch to the Benford residence. It is nighttime. A door closes. Mark walks to the kitchen and sees Nicole standing at the counter.]

MARK: Hey Nicole.

[Nicole chuckles and Mark pats her on the shoulder. He goes to the sink and washes his hands.]

NICOLE: Uh, Charlie's just upstairs changing into her P.J.s.

MARK: All right.

[Nicole picks up a picture to show Mark..]

NICOLE: Um, we did some finger painting and she's all done with her homework and uh, we kicked around a soccer ball, too. Oh and she had ants on a log for a snack.

MARK: And how are you doing?

NICOLE: [pause, lowers head] I feel bad for disappearing on you.

MARK: Heh, everybody disappeared for a while. Some people aren't even back yet.

NICOLE: Guess I'm just trying to figure out why you guys didn't fire me.

MARK: Nicole, you're part of the family.

[Nicole bows her head and fidgets. There is a long pause.]

MARK: Hey, what's the matter? You wanna talked about what happened? You can, you know.

[Nicole sits at the counter and is still silent.]

MARK: What's wrong?

NICOLE: [pause] I saw someone drowning me.

MARK: What?

NICOLE: [pause] I saw someone drowning me in my flash-forward.

[Nicole's flash-forward is in the background as she talks. She struggles underwater while hands are pushing her down, keeping her submerged.]

NICOLE: [pause] I saw someone drowning me and I don't understand. But I, I felt like I deserved what was happening. Like I had done something wrong and there's no other way out.

[More of her flash-forward. The man is wearing a black jacket of some sort with long sleeves. Nicole sinks in the water unconscious.]

NICOLE: I saw this man's face who was doing it. He pushed me back down and then I was just gone. [voice cracking] What did I do that I think I deserved getting killed?

MARK: You don't know exactly what you saw or even how you felt.

NICOLE: [holds back tears] What kind of person doesn't care they're being murdered?

MARK: Nicole, I've known you a long time. You didn't do anything wrong and you won't. Tomorrow I'm gonna have a detective friend of mine from the L.A.P.D. come talk to you.

[Nicole is crying. She looks up at Mark.]

MARK: We're not gonna let anything bad happen. I’m going to do whatever I have to, to make sure you’re safe. All right?

[Nicole nods.]

MARK: That person you think you saw, that person you're worried you might be, that's not you. Do you think you could try to believe that?

NICOLE: Yeah, I can try.

MARK: Good.

[Charlie comes running into the kitchen.]

CHARLIE: Hey daddy.

MARK: Hey! Come here, you, oh!

[Mark picks her up and holds her in his arms. He pats her on the nose with a finger.]

MARK: Moon's over Miami. You in?

CHARLIE: I'm in.

[Marks places Charlie down.]

MARK: All right. Let's get started.

CHARLIE: [to Nicole] Are you staying?

NICOLE: Um, you know what? I have to go.

MARK: [opens refrigerator] She's staying. Breakfast for dinner? Can't beat that.

CHARLIE: Come on. Please?

[Nicole puts down her purse and keys.]

NICOLE: Sounds great.

[Mark takes milk and eggs from the refrigerator. He hands the eggs to Charlie.]

MARK: Get cracking the eggs professor.

CHARLIE: OK. Can I have a bowl, please?

MARK: One bowl coming right up.

CHARLIE: Okay.

[Nicole joins Mark and Charlie making breakfast for dinner. Mark hands Charlie a bowl and tries to put on her head.]

MARK: Here.

CHARLIE: [laughs] That's silly.

MARK: [opens cabinet] Here we go. Okay.

[Switch to Lloyd at the hospital. He is in Dylan's room. Dylan is sitting up and laughing at his father's antics. Lloyd is rubbing his hands together then opens his left hand displaying nothing.]

LLOYD: Gamanto, McGillicutty, frog leg!

[Dylan takes a deep breath. His mouth is agape.]

LLOYD: Do you want the coin back?

DYLAN: Yeah!

LLOYD: Well say the magic words then.

[Olivia walks into the ward. In the background we can hear Dylan.]

DYLAN: [in background] Again?

LLOYD: [in background] Try again.

NURSE:See you tomorrow, Dr. Benford.

OLIVIA: Good night, Deb.

DYLAN: Gamanta, McGillicutty, Frog Leg!

[Lloyd opens his hand and reveals the coin.]

LLOYD: There you go.

[Dylan gasps at seeing the coin. Lloyd tosses it up and catches on its way down.]

DYLAN: Do it again! Just once more.

LLOYD: I think my junior magician has to get his strength up before the next trick. How about some dinner?

DYLAN: Okay dad.

LLOYD: I'll be right back.

[Olivia walks away quickly.]

LLOYD: Uh, you're the eye of newt soup, right?

[Dylan scrunches his face.]

DYLAN: Uh uh.

LLOYD: All right, chicken it is.

[Lloyd's cell phone rings. He checks to see who is calling. The LCD on the phone reads Simon. Lloyd lets it ring several times before answering. He inhales deeply.]

LLOYD: Yeah.

SIMON: We need to talk.

LLOYD: Yeah, well, I can't right now.

SIMON: Well I'm truly sorry about that Lloyd, [Simon's face] But talking to me is just one of those little inconveniences you’re going to have to put up with now that we're responsible for the single greatest disaster in human history.

[Lloyd shuts off the phone and stares aimlessly. Switch to Simon's face.]


END