Post by Hanelle on Aug 18, 2008 9:42:48 GMT -5
I've decided to do a mini-episode of Clocks to refresh everyones mind for the finale. This isn't new material, just a small batch of scenes with are pivotal for different parts of the finale, sort of like a more broad "previously on" segment. So here it is. I hope everyone checks out the finale which will be posted Wednesday morning 
A clock ticks down to midnight.
EXT. FIELD - 1987 – CONTINUOUS (FROM 1x05 “THE RED HERRING”)
Marianne looks out toward a field.
As she runs through the field we see Charles ahead about fifty yards. He is walking strangely and not looking back despite Marianne's desperate calls.
Suddenly she trips, falling hard on her stomach. She grimaces in pain, holding her sprained ankle.
BEAT.
Marianne eventually makes it to her feet and hobbles as quickly as she can until she reaches an old out-of-use train bridge. It looks un-safe and is missing many railroad ties. The ones that are there are chipped and weak. To her amazement, Charles stands directly in the center of the bridge. He stands at the edge, looking down at the violent water current below.
Marianne stares in awe at the seemingly catatonic Charles as she struggles to balance on her ankle.
He continues to look directly below at the ravaging water. Not batting an eye at her screaming and pleading. She is now in tears, begging for him to come to her.
She slowly makes her up way to the bridge and even more slowly makes her way across it, almost falling in on more than one occasion. She makes it about twenty-feet away from him and holds onto a rail.
He stares straight down.
BEAT.
Out of nowhere he looks directly into her eyes. An out-of-this-world smile then appears on his face.
Suddenly he lets himself fall forward and drop somewhere around thirty feet down into the violent river!
Marianne stares down in horror.
EXT. SCHOOLHOUSE – IRAN – NIGHT (FROM 1x03 “THE HEART OF WAR”)
Tommy Lyons and Seth sit outside of the small schoolhouse keeping watch for hostiles. Tommy pulls out a small wallet-sized PICTURE and hands it to Seth.
The girl in the photo is in her mid-twenties, short dark hair and piercing black eyes.
They both laugh.
INT. CAR – NIGHT (FROM 1x06 “LYONS & LAMBS”)
Tommy Lyons drives hastily toward his destination. His face is frantic and desperate. He looks into his passenger seat and sees the files on his “targets”.
Suddenly headlights appear in his rearview mirror. In an instant they are directly behind him. He looks curiously, but cannot see who is in the car.
As he adjusts his mirror he is ROCKED wildly. The car is bumping him from behind, softly at first but more frequently by the second.
Tommy speeds up, his odometer reaching 95. He twists around the curves, tires squealing. Now the car pulls next to him, Tommy looks but the windows are tinted. It RAMS him with bad intentions.
Tommy struggles to maintain control of his car as his phone suddenly RINGS. He quickly answers.
Tommy swerves violently nearly dropping his phone.
BAM! The car hits Tommy hard once again, he veers toward the edge. Below we see is a long drop off, similar to a cliff.
Another RAM comes directly after the last. Tommy loses control completely and his car skids against the railing.
Tommy drops the phone and tries with everything he has to regain control, but to no avail. The car spins sideways and goes through the railing, tumbling down the rocky slope.
On Seth’s end the phone cuts out.
The black car creeps to a stop. Man #1 steps out and walks toward the ledge. Below we see Tommy’s car, flipped upside down and completely totaled. He slowly walks back to his vehicle.
EXT. CLOCK TOWER ROOF – EVENING (FROM 1x05 “THE RED HERRING”)
Man #1 cranes his neck to the side and sees the Sniper Rifle propped against the ledge of the tower.
No response. Seth and Ron are aware he knows the answer.
He cocks his gun.
BANG. BANG.
The two men suddenly drop, blood flowing from wounds in the back of their heads. Standing just inside the door to the roof is the woman with the piercing eyes (EVA). She smiles at Seth, who looks confused as ever.
Seth can't bring himself to look away from the woman. Her calm demeanor. She stares directly back at him.
She smiles in a mysterious way and quickly heads through the door.
INT. U.N. HEADQUARTERS – NIGHT (FROM “PILOT”)
Charles stands, surrounded by different aids. Charlotte adjusts his tie as another woman applies some T.V. makeup. A guard from outside the room pokes his head through the door.
Charles looks at the woman applying the makeup, who nods that she is finished. He walks past the man and to the PHONE.
Heavy breathing. The voice comes through raspy and familiar.
BEAT.
Charles looks nervous, thinking very carefully about what to say next.
CLICK. The line goes dead. Charles hangs up slowly, staring at the telephone for a while, attempting to get his bearings.
INT. TORRES ANTIQUE CLOCK REPAIR – AFTERNOON (FROM “PILOT”)
The store has an old-fashioned sense to it. Patsy Kline’s “Walkin’ After Midnight” plays over the shop’s sound system. Ticking of clocks come from every direction.
ROSE VIERA, 29, browses the glass-case of watches. She is a naturally beautiful Spanish woman with long slightly curly black hair. Originally born in Madrid, she now lives in the Big Apple, but still speaks with a touch of a Spanish accent. She wears a greenish-colored flowery summer dress.
She approaches the front counter, where a young man reads Michael Crichton’s “Timeline”. Rose eyes him in a flirtatious manner.
This is SETH PRESCOTT.
Seth, 30, has a decent build and is in great shape. His light brown hair is of medium length.
She points to the glass case behind her.
Seth leads her back to the case. She watches and flips her flowing black hair seductively.
Seth eyes her suspiciously.
Rose works some of her charm.
Rose closely examines the watches. She picks up a nice silver one. The price tag says: 49.99
Seth eyes the watch carefully. He smiles.
Seth smiles and nods, not used to women hitting on him.
They laugh as she hands him the money from her purse.
INT. NEW CHURCH OF CHRIST - BASEMENT - EVENING (FROM 1x01 “GENESIS”)
The group of individuals sit around the darkened room. Everyone's gaze is directed at Seth, who is leaned against the door nonchalantly.
Seth chuckles at the ridiculousness of the situation.
Ron leans forward slowly.
Seth nods.
Ron slides a photo across the table in the center of the room. It shows Charles Abaddon meeting with an Israeli man, presumably Amir Asheri.
Ron slides a second photo across the table. This one shows Charles Abaddon handing the Israeli man a silver briefcase.
Ron pulls a tape recorder from his shirt pocket.
Ron clicks PLAY on the tape recorder. It opens with static before voices are heard. Seth waits with a smirk on his face.
BEAT.
Seth's smirk begins to go away. He looks at Rose who nods her head. It's the truth.
There is some incoherent noises in the background. Suddenly static fills the tape recorder once again. The group sits in silence as Ron clicks the recorder off.
Seth points at Ron, who smiles.
Many of the group's faces change after that comment. Sadness fills their eyes.
Seth realizes what they are implying.
BEAT.
The words ring out in the darkened basement as Seth tries to grasp what he's just heard.
INT. ABADDON RESIDENCE - NIGHT (FROM 1x01 “GENESIS”)
Thomas sits in his bedroom drawing at his desk. Collective Souls "The World I Know" plays on his stereo. The door creaks open as Charles peeks his head in.
Thomas turns and smiles at his Father.
Charles steps in and stands behind Thomas at the desk. He is drawing an oddly-shaped clock, similar to a Dali painting.
Thomas is silent.
Thomas answers without missing a beat.
Charles looks concerned.
Thomas doesn't seem to make any sense. Charles, confused, tries to dig deeper.
BEAT.
Dramatic silence as Charles ponders what has just been said by his young son.
INT. PARKING GARAGE – DAY (FROM 1x05 “THE RED HERRING”)
Though it is day, the parking garage is as dark as night. Charles, along with his two armed guards, approaches a figure in the shadows.
CHARLES
Make this quick, I gotta' be somewhere.
The voice sounds quiet and disguised.
Charles looks impatient.
Charles does not waiver.
BEAT.
Charles raises his eyebrows as he waits.
Charles is in a hurry.
He chuckles, amused at the thought.
Long BEAT as Charles considers this.
Charles and his "protection" turn and walk away, leaving the informant in the dark by himself.
Charles ignores him as they exit the garage. The informant steps forward desperately trying to get his attention. Into the light his identity is revealed.
INT. HOTEL SUITE – SYRIA – EVENING (FROM 1x02 “MISSING PIECES”)
The room is quiet. Empty. The door BURSTS open and Charlotte enters, followed by Charles. She sits on the bed, Charles looks out the windows, seemingly paranoid.
Charles ignores her until he feels content that nobody is around. He sits down across from her in the black leather chair.
Charlotte's face is flush with fear and nervousness.
Charlotte doesn't speak.
Charlotte shakes her head.
Charlotte seems very frightened now.
Charlotte remains silent.
C
Charles nods. It seems to make sense to Charlotte, in some crazy way. She loosens up a bit.
Charlotte nods.
Charles smiles, making Charlotte laugh.
INT. ABADDON RESIDENCE – EVENING (FROM 1x04 “GEORGIA ON MY MIND”)
Sydney helps Thomas pack a small suitcase. Clothes, toiletries, toys, etc. She looks confused and worried.
EXT. NEW YORK CITY – DAY (FROM 1x05 “THE RED HERRING”)
The streets are busy, as always. A white PEST CONTROL van drives by and into a nearby parking garage.
INT. PARKING GARAGE - DAY
The CAMERA sits at ground-level of a parking spot. The van slices into the spot, coming inches from the camera. The vehicle remains running as someone exits. We watch their boots as they walk to the rear of the van. The rear-doors open.
BEAT as the person does something in the back of the van. Our P.O.V. is still as if we were underneath the vehicle.
There is a SCREECHING sound as we see a second vehicle pull up behind the van. CAMERA rises until we see the back of the person from the van as they approach the car. It's a man, dressed in a blue workers uniform. A long black ponytail hangs out underneath his cap.
As he opens the car door he looks back at the van one last time. We now see it is AMIR ASHERI. He get's in the car and they speed off loudly.
PAN back to the rear-door of the van. CLOSE UP on the window, until we can see inside. We see a blinking green light. An even closer look reveals something terrible. Unimaginable.
It's a NUCLEAR BOMB.
EXT. CLOCK TOWER ROOF – DAY (FROM 1x05 “THE RED HERRING”)
Suddenly the ground begins to SHAKE wildly, swaying them to the left and to the right. It feels like a strong earthquake. Seth is holding on to the ledge, nearly toppling off the side. Then the sky lights up brightly, a blinding white light.
EXT. AMBULANCE - DAY
The Ambulance drives down the highway at a blistering speed until BOOM! A enormous gust of energy slams into it, violently tipping it over and causing it to roll a few times.
EXT. PARK - DAY
Again, the sky turns bright white and a deafening rumbling noise is heard. Charles barely reacts to it. Charlotte looks off in the distance terrified, holding on for her life.
INT. CLOCK TOWER - DAY
The sky is returning to normal, visibility is returning. Seth and Ron look in awe toward Manhattan Island. They're jaws practically hitting the floor. Then we see it. A large black mushroom cloud rising toward the sky in the distance. Everything is eerily quiet, like right before a tornado hits.
EXT. PARK - DAY
Roy stares at the cloud, terrified and mesmerized. Charlotte finally brings herself to look away, now looking toward Charles. He returns the look in a stern, controlled manner. Instantly, the sound ZOOMS back in as everyone completely FLIPS OUT! They run in every direction, stampedes of frightened people. All screaming at the top of their lungs. Many of them weep as they look at the intense mushroom cloud.
INT. CLOCK TOWER - DAY
Ron stares at the cloud hypnotically.
EXT. CENTRAL PARK – 2019 – NIGHT (FROM “PILOT”)
THIS SEASON ON CLOCKS
FADE IN:
A clock ticks down to midnight.
EXT. FIELD - 1987 – CONTINUOUS (FROM 1x05 “THE RED HERRING”)
Marianne looks out toward a field.
MARIANNE
Charlie!
Charlie!
As she runs through the field we see Charles ahead about fifty yards. He is walking strangely and not looking back despite Marianne's desperate calls.
MARIANNE
Charlie, stop right now!
Charlie, stop right now!
Suddenly she trips, falling hard on her stomach. She grimaces in pain, holding her sprained ankle.
BEAT.
Marianne eventually makes it to her feet and hobbles as quickly as she can until she reaches an old out-of-use train bridge. It looks un-safe and is missing many railroad ties. The ones that are there are chipped and weak. To her amazement, Charles stands directly in the center of the bridge. He stands at the edge, looking down at the violent water current below.
Marianne stares in awe at the seemingly catatonic Charles as she struggles to balance on her ankle.
MARIANNE
Charles! What in the hell are you doing?
Charles! What in the hell are you doing?
He continues to look directly below at the ravaging water. Not batting an eye at her screaming and pleading. She is now in tears, begging for him to come to her.
She slowly makes her up way to the bridge and even more slowly makes her way across it, almost falling in on more than one occasion. She makes it about twenty-feet away from him and holds onto a rail.
MARIANNE
Charles, please!
Charles, please!
He stares straight down.
MARIANNE (cont.)
Charlie, grab Mommy's hand. Let's go home.
Charlie, grab Mommy's hand. Let's go home.
BEAT.
MARIANNE (cont.)
Come on, Charlie!
Come on, Charlie!
Out of nowhere he looks directly into her eyes. An out-of-this-world smile then appears on his face.
Suddenly he lets himself fall forward and drop somewhere around thirty feet down into the violent river!
MARIANNE (cont.)
Charlie! No!!!
Charlie! No!!!
Marianne stares down in horror.
EXT. SCHOOLHOUSE – IRAN – NIGHT (FROM 1x03 “THE HEART OF WAR”)
Tommy Lyons and Seth sit outside of the small schoolhouse keeping watch for hostiles. Tommy pulls out a small wallet-sized PICTURE and hands it to Seth.
TOMMY
This is my girl. She's waiting back home for me. Her name’s Eva. She's a Ruski.
This is my girl. She's waiting back home for me. Her name’s Eva. She's a Ruski.
The girl in the photo is in her mid-twenties, short dark hair and piercing black eyes.
SETH
She's beautiful. She speak good English?
TOMMY
Sure, I guess. We manage.
She's beautiful. She speak good English?
TOMMY
Sure, I guess. We manage.
They both laugh.
INT. CAR – NIGHT (FROM 1x06 “LYONS & LAMBS”)
Tommy Lyons drives hastily toward his destination. His face is frantic and desperate. He looks into his passenger seat and sees the files on his “targets”.
Suddenly headlights appear in his rearview mirror. In an instant they are directly behind him. He looks curiously, but cannot see who is in the car.
As he adjusts his mirror he is ROCKED wildly. The car is bumping him from behind, softly at first but more frequently by the second.
Tommy speeds up, his odometer reaching 95. He twists around the curves, tires squealing. Now the car pulls next to him, Tommy looks but the windows are tinted. It RAMS him with bad intentions.
Tommy struggles to maintain control of his car as his phone suddenly RINGS. He quickly answers.
TOMMY
Seth! They’re after me, man.
INTERCUT WITH SETH’S APARTMENT
SETH
What? Who’s after you?
Seth! They’re after me, man.
INTERCUT WITH SETH’S APARTMENT
SETH
What? Who’s after you?
Tommy swerves violently nearly dropping his phone.
TOMMY
Abaddon’s guys. Their tryin’ to run me off the damn road!
SETH
Just calm down, Tommy. I’ll call the police.
TOMMY
I can lose ‘em. I’m headin’ toward the Post now.
Abaddon’s guys. Their tryin’ to run me off the damn road!
SETH
Just calm down, Tommy. I’ll call the police.
TOMMY
I can lose ‘em. I’m headin’ toward the Post now.
BAM! The car hits Tommy hard once again, he veers toward the edge. Below we see is a long drop off, similar to a cliff.
SETH
Don’t do nothin’ stupid.
Don’t do nothin’ stupid.
Another RAM comes directly after the last. Tommy loses control completely and his car skids against the railing.
Tommy drops the phone and tries with everything he has to regain control, but to no avail. The car spins sideways and goes through the railing, tumbling down the rocky slope.
On Seth’s end the phone cuts out.
SETH
Tommy?!? What happened?
Tommy?!? What happened?
The black car creeps to a stop. Man #1 steps out and walks toward the ledge. Below we see Tommy’s car, flipped upside down and completely totaled. He slowly walks back to his vehicle.
EXT. CLOCK TOWER ROOF – EVENING (FROM 1x05 “THE RED HERRING”)
Man #1 cranes his neck to the side and sees the Sniper Rifle propped against the ledge of the tower.
MAN #1
What did you plan on using that for?
What did you plan on using that for?
No response. Seth and Ron are aware he knows the answer.
MAN #1 (cont.)
I guess it doesn't matter now.
I guess it doesn't matter now.
He cocks his gun.
MAN #1 (cont.)
Your deed will now go unfulfilled. Goodbye.
Your deed will now go unfulfilled. Goodbye.
BANG. BANG.
The two men suddenly drop, blood flowing from wounds in the back of their heads. Standing just inside the door to the roof is the woman with the piercing eyes (EVA). She smiles at Seth, who looks confused as ever.
Seth can't bring himself to look away from the woman. Her calm demeanor. She stares directly back at him.
SETH
(to the woman)
Who are you?
(to the woman)
Who are you?
She smiles in a mysterious way and quickly heads through the door.
INT. U.N. HEADQUARTERS – NIGHT (FROM “PILOT”)
Charles stands, surrounded by different aids. Charlotte adjusts his tie as another woman applies some T.V. makeup. A guard from outside the room pokes his head through the door.
GUARD
Mr. Abaddon, sorry to bother you. But there is a call for you, they said it was urgent.
Mr. Abaddon, sorry to bother you. But there is a call for you, they said it was urgent.
Charles looks at the woman applying the makeup, who nods that she is finished. He walks past the man and to the PHONE.
CHARLES
Charles Abaddon.
Charles Abaddon.
Heavy breathing. The voice comes through raspy and familiar.
FAMILIAR VOICE (O.S.)
Hello, Charles.
CHARLES
Who is this?
Hello, Charles.
CHARLES
Who is this?
BEAT.
FAMILIAR VOICE (O.S.)
A friend of a friend. I would like to speak to you in person. About Marianne.
A friend of a friend. I would like to speak to you in person. About Marianne.
Charles looks nervous, thinking very carefully about what to say next.
CHARLES
I’m sorry?
FAMILIAR VOICE (O.S.)
I know what you did to her, Mr. Abaddon.
CHARLES
I don’t know who or what you are talking about. Tell me who this is.
FAMILIAR VOICE (O.S.)
My name is Roy Walker. Like I said, a friend of a friend. Unfortunately, right now I must go. Perhaps we can chat again later? Oh, and Mr. Abaddon, you will pay for what you have done.
I’m sorry?
FAMILIAR VOICE (O.S.)
I know what you did to her, Mr. Abaddon.
CHARLES
I don’t know who or what you are talking about. Tell me who this is.
FAMILIAR VOICE (O.S.)
My name is Roy Walker. Like I said, a friend of a friend. Unfortunately, right now I must go. Perhaps we can chat again later? Oh, and Mr. Abaddon, you will pay for what you have done.
CLICK. The line goes dead. Charles hangs up slowly, staring at the telephone for a while, attempting to get his bearings.
INT. TORRES ANTIQUE CLOCK REPAIR – AFTERNOON (FROM “PILOT”)
The store has an old-fashioned sense to it. Patsy Kline’s “Walkin’ After Midnight” plays over the shop’s sound system. Ticking of clocks come from every direction.
ROSE VIERA, 29, browses the glass-case of watches. She is a naturally beautiful Spanish woman with long slightly curly black hair. Originally born in Madrid, she now lives in the Big Apple, but still speaks with a touch of a Spanish accent. She wears a greenish-colored flowery summer dress.
She approaches the front counter, where a young man reads Michael Crichton’s “Timeline”. Rose eyes him in a flirtatious manner.
This is SETH PRESCOTT.
Seth, 30, has a decent build and is in great shape. His light brown hair is of medium length.
ROSE
Sorry to bother you, but I was
wondering if I could try one of
those watches on?
Sorry to bother you, but I was
wondering if I could try one of
those watches on?
She points to the glass case behind her.
SETH
No bother, ma’am. Of course you can.
No bother, ma’am. Of course you can.
Seth leads her back to the case. She watches and flips her flowing black hair seductively.
ROSE
My name is Rose. And you?
SETH
Seth. Pleasure to meet you, Rose.
ROSE
I like that name, Seth. It is from the bible, no?
SETH
Yeah, I guess you’re right. Don’t think that’s why I was given it though.
ROSE
You are not a religious man?
SETH
‘Fraid not.
ROSE
Oh, that is too bad. I’m a member of a church not too far from here. If you’d be interested I have a BROCHURE. We have bible studies twice a week. I would love to see you there sometime.
My name is Rose. And you?
SETH
Seth. Pleasure to meet you, Rose.
ROSE
I like that name, Seth. It is from the bible, no?
SETH
Yeah, I guess you’re right. Don’t think that’s why I was given it though.
ROSE
You are not a religious man?
SETH
‘Fraid not.
ROSE
Oh, that is too bad. I’m a member of a church not too far from here. If you’d be interested I have a BROCHURE. We have bible studies twice a week. I would love to see you there sometime.
Seth eyes her suspiciously.
SETH
Sorry, it’s really not my cup of tea.
Sorry, it’s really not my cup of tea.
Rose works some of her charm.
ROSE
How about this? I’ll give you one anyway, just in case. Better to have one and not need it, than to need one and not have it, right? Perhaps sometime you will change your mind.
(handing him the pamphlet)
No pressure though.
How about this? I’ll give you one anyway, just in case. Better to have one and not need it, than to need one and not have it, right? Perhaps sometime you will change your mind.
(handing him the pamphlet)
No pressure though.
Rose closely examines the watches. She picks up a nice silver one. The price tag says: 49.99
ROSE
I’ll take this one. It’s a good one?
I’ll take this one. It’s a good one?
Seth eyes the watch carefully. He smiles.
SETH
Yes, very nice.
ROSE
So, Mr.?
SETH
Prescott.
ROSE
Mr. Prescott. Why the keen interest in clocks?
SETH
I don’t know really. Time is just and amazing thing. The most important thing man has ever created. Have you ever seen the inner-workings of a clock?
ROSE
I have not. Perhaps you can show me sometime?
Yes, very nice.
ROSE
So, Mr.?
SETH
Prescott.
ROSE
Mr. Prescott. Why the keen interest in clocks?
SETH
I don’t know really. Time is just and amazing thing. The most important thing man has ever created. Have you ever seen the inner-workings of a clock?
ROSE
I have not. Perhaps you can show me sometime?
Seth smiles and nods, not used to women hitting on him.
ROSE (cont.)
I believe time is the glue that holds us together.
SETH
You are absolutely right.
ROSE
I think I read it on a hallmark card.
I believe time is the glue that holds us together.
SETH
You are absolutely right.
ROSE
I think I read it on a hallmark card.
They laugh as she hands him the money from her purse.
SETH
If anything goes wrong bring it in and I’ll get it goin’ again.
ROSE
Let’s hope.
If anything goes wrong bring it in and I’ll get it goin’ again.
ROSE
Let’s hope.
INT. NEW CHURCH OF CHRIST - BASEMENT - EVENING (FROM 1x01 “GENESIS”)
The group of individuals sit around the darkened room. Everyone's gaze is directed at Seth, who is leaned against the door nonchalantly.
SETH
Look, you guys don't have to convince me that Abaddon isn't a saint. I know from experience, he's far from it.
DOUG
Wouldn't surprise me if he was a high member of the Illuminati.
ROSE
Doug, enough with the Illuminati.
DOUG
Okay, fine.
Look, you guys don't have to convince me that Abaddon isn't a saint. I know from experience, he's far from it.
DOUG
Wouldn't surprise me if he was a high member of the Illuminati.
ROSE
Doug, enough with the Illuminati.
DOUG
Okay, fine.
Seth chuckles at the ridiculousness of the situation.
SETH
Seriously, stop wasting my time. What is Abaddon doing, that I don’t know about, that would be such a big conspiracy?
Seriously, stop wasting my time. What is Abaddon doing, that I don’t know about, that would be such a big conspiracy?
Ron leans forward slowly.
RON
You read about his trip to Syria earlier this year, correct?
You read about his trip to Syria earlier this year, correct?
Seth nods.
RON (cont.)
Reliable sources say that he had some very shady meetings while he was there.
SETH
With who?
RON
Let's just say he was meeting with the wrong crowd. You've heard of Amir Asheri?
SETH
The terrorist?
RON
That's him. He was behind the attacks in Jordan last year.
Reliable sources say that he had some very shady meetings while he was there.
SETH
With who?
RON
Let's just say he was meeting with the wrong crowd. You've heard of Amir Asheri?
SETH
The terrorist?
RON
That's him. He was behind the attacks in Jordan last year.
Ron slides a photo across the table in the center of the room. It shows Charles Abaddon meeting with an Israeli man, presumably Amir Asheri.
SETH
Why was Abaddon meeting an Israeli terrorist?
RON
That's a good question. Luckily the man who snapped this shot, also snapped one more.
Why was Abaddon meeting an Israeli terrorist?
RON
That's a good question. Luckily the man who snapped this shot, also snapped one more.
Ron slides a second photo across the table. This one shows Charles Abaddon handing the Israeli man a silver briefcase.
SETH
Is he being blackmailed?
RON
Seth, he is paying Asheri to do a job, if you know what I mean.
SETH
A job? Paying a terrorist to attack a country? If Charles Abaddon wanted to attack a country, in his position of power, he could do it a helluva’ lot easier than that.
RON
You’ve said it yourself, in your blogs. Abaddon is setting us up for World War three. This is just the beginning.
SETH
So say you’re right, which I definitely am not suggesting, what country is he looking to attack?
RON
I don’t know. But I am right Seth.
Is he being blackmailed?
RON
Seth, he is paying Asheri to do a job, if you know what I mean.
SETH
A job? Paying a terrorist to attack a country? If Charles Abaddon wanted to attack a country, in his position of power, he could do it a helluva’ lot easier than that.
RON
You’ve said it yourself, in your blogs. Abaddon is setting us up for World War three. This is just the beginning.
SETH
So say you’re right, which I definitely am not suggesting, what country is he looking to attack?
RON
I don’t know. But I am right Seth.
Ron pulls a tape recorder from his shirt pocket.
SETH
What's this?
RON
An insider got this to me. He got a jump on the location of their meeting. Got there first, set up a bug, and recorded their conversation.
What's this?
RON
An insider got this to me. He got a jump on the location of their meeting. Got there first, set up a bug, and recorded their conversation.
Ron clicks PLAY on the tape recorder. It opens with static before voices are heard. Seth waits with a smirk on his face.
CHARLES (O.S.)
Are you alone?
ASHERI (O.S.)
Of course, Mr. Abaddon.
CHARLES (O.S.)
Can you do it?
Are you alone?
ASHERI (O.S.)
Of course, Mr. Abaddon.
CHARLES (O.S.)
Can you do it?
BEAT.
CHARLES (O.S.)
(angrily)
Well? Can you?
ASHERI (O.S.)
You know I can do it. Are you sure about this? Do you understand the implications?
CHARLES (O.S.)
Don't worry about what I understand, Mr. Asheri. It must look like terrorism. Their government or their people cannot suspect a thing.
(angrily)
Well? Can you?
ASHERI (O.S.)
You know I can do it. Are you sure about this? Do you understand the implications?
CHARLES (O.S.)
Don't worry about what I understand, Mr. Asheri. It must look like terrorism. Their government or their people cannot suspect a thing.
Seth's smirk begins to go away. He looks at Rose who nods her head. It's the truth.
ASHERI (O.S.)
We can have everything in order soon. The warheads are on their way as we speak.
CHARLES (O.S.)
Good.
We can have everything in order soon. The warheads are on their way as we speak.
CHARLES (O.S.)
Good.
There is some incoherent noises in the background. Suddenly static fills the tape recorder once again. The group sits in silence as Ron clicks the recorder off.
RON
Were not sure what happened, but the line cut off.
SETH
Who are you people?
ROSE
We are part of a much larger coalition, if you will. Spread throughout the globe.
SETH
And you?
Were not sure what happened, but the line cut off.
SETH
Who are you people?
ROSE
We are part of a much larger coalition, if you will. Spread throughout the globe.
SETH
And you?
Seth points at Ron, who smiles.
RON
I'm nobody. Just another revolutionary.
SETH
Okay, so let's say I believe you. Why not just go to the police? The F.B.I.?
RON
I wish it were that easy.
I'm nobody. Just another revolutionary.
SETH
Okay, so let's say I believe you. Why not just go to the police? The F.B.I.?
RON
I wish it were that easy.
Many of the group's faces change after that comment. Sadness fills their eyes.
SETH
What?
ROSE
We had a member, he was in the Bureau. He tried to take information to someone who could do something. Blow the whole thing wide open.
SETH
So what happened?
ROSE
Abaddon got to him first.
What?
ROSE
We had a member, he was in the Bureau. He tried to take information to someone who could do something. Blow the whole thing wide open.
SETH
So what happened?
ROSE
Abaddon got to him first.
Seth realizes what they are implying.
SETH
So, what do you want me for?
So, what do you want me for?
BEAT.
RON
We want you, Seth, to kill Charles Abaddon.
We want you, Seth, to kill Charles Abaddon.
The words ring out in the darkened basement as Seth tries to grasp what he's just heard.
INT. ABADDON RESIDENCE - NIGHT (FROM 1x01 “GENESIS”)
Thomas sits in his bedroom drawing at his desk. Collective Souls "The World I Know" plays on his stereo. The door creaks open as Charles peeks his head in.
CHARLES
Thomas, can I come in?
Thomas, can I come in?
Thomas turns and smiles at his Father.
THOMAS
Yeah, I'm just drawin'.
Yeah, I'm just drawin'.
Charles steps in and stands behind Thomas at the desk. He is drawing an oddly-shaped clock, similar to a Dali painting.
CHARLES
Not bad, Thomas.
Not bad, Thomas.
Thomas is silent.
CHARLES (cont.)
Can we talk?
THOMAS
Okay.
CHARLES
Do you know what I want to talk to you about?
Can we talk?
THOMAS
Okay.
CHARLES
Do you know what I want to talk to you about?
Thomas answers without missing a beat.
THOMAS
Mom.
CHARLES
What about her?
THOMAS
I don't like her anymore.
Mom.
CHARLES
What about her?
THOMAS
I don't like her anymore.
Charles looks concerned.
CHARLES
Why don't you like her anymore. She loves you Thomas.
THOMAS
Okay.
CHARLES
Why did you draw that picture at school? Why was your Mother dead?
THOMAS
I dunno'. I saw it in my head, I think. Sort of.
Why don't you like her anymore. She loves you Thomas.
THOMAS
Okay.
CHARLES
Why did you draw that picture at school? Why was your Mother dead?
THOMAS
I dunno'. I saw it in my head, I think. Sort of.
Thomas doesn't seem to make any sense. Charles, confused, tries to dig deeper.
CHARLES
So if she’s dead in your picture, how do you think she died, Thomas?
So if she’s dead in your picture, how do you think she died, Thomas?
BEAT.
THOMAS
I killed her. Well, it wasn't really me. It seemed like me though.
I killed her. Well, it wasn't really me. It seemed like me though.
Dramatic silence as Charles ponders what has just been said by his young son.
INT. PARKING GARAGE – DAY (FROM 1x05 “THE RED HERRING”)
Though it is day, the parking garage is as dark as night. Charles, along with his two armed guards, approaches a figure in the shadows.
CHARLES
Make this quick, I gotta' be somewhere.
The voice sounds quiet and disguised.
INFORMANT
They know.
CHARLES
You call me on today of all days, to say you have something urgent to speak to me about and the best you've got is "they know"?
INFORMANT
About the attacks. The attacks you are planning.
They know.
CHARLES
You call me on today of all days, to say you have something urgent to speak to me about and the best you've got is "they know"?
INFORMANT
About the attacks. The attacks you are planning.
Charles looks impatient.
CHARLES
They don't know anything. You don't even know what the hell you are talking about.
INFORMANT
They have you speaking about it on tape.
They don't know anything. You don't even know what the hell you are talking about.
INFORMANT
They have you speaking about it on tape.
Charles does not waiver.
CHARLES
There better be more. You couldn't have bothered me with this nonsense.
There better be more. You couldn't have bothered me with this nonsense.
BEAT.
INFORMANT
There's more.
There's more.
Charles raises his eyebrows as he waits.
CHARLES
I'm listening...
INFORMANT
First I need my money. I'm leaving the country.
CHARLES
Is that right? Well tell me what you need to tell me and you'll get your money.
INFORMANT
They are planning something of their own.
I'm listening...
INFORMANT
First I need my money. I'm leaving the country.
CHARLES
Is that right? Well tell me what you need to tell me and you'll get your money.
INFORMANT
They are planning something of their own.
Charles is in a hurry.
CHARLES
What's that?
INFORMANT
An assassination. They are planning to kill you.
What's that?
INFORMANT
An assassination. They are planning to kill you.
He chuckles, amused at the thought.
CHARLES
(sinisterly)
Oooh...
INFORMANT
Sir, I'd advise you to not give that speech today. It's being carried out as we speak.
(sinisterly)
Oooh...
INFORMANT
Sir, I'd advise you to not give that speech today. It's being carried out as we speak.
Long BEAT as Charles considers this.
CHARLES
Good.
Good.
Charles and his "protection" turn and walk away, leaving the informant in the dark by himself.
INFORMANT
My money? Sir?
My money? Sir?
Charles ignores him as they exit the garage. The informant steps forward desperately trying to get his attention. Into the light his identity is revealed.
DOUG
I need that money!
I need that money!
INT. HOTEL SUITE – SYRIA – EVENING (FROM 1x02 “MISSING PIECES”)
The room is quiet. Empty. The door BURSTS open and Charlotte enters, followed by Charles. She sits on the bed, Charles looks out the windows, seemingly paranoid.
CHARLOTTE
What's going on, Mr. Abaddon?
What's going on, Mr. Abaddon?
Charles ignores her until he feels content that nobody is around. He sits down across from her in the black leather chair.
CHARLES
What did you hear, Charlotte?
CHARLOTTE
I didn't hear anything. I just noticed you on the phone, that's all.
What did you hear, Charlotte?
CHARLOTTE
I didn't hear anything. I just noticed you on the phone, that's all.
Charlotte's face is flush with fear and nervousness.
CHARLES
Do you know whom it was I was speaking with?
Do you know whom it was I was speaking with?
Charlotte doesn't speak.
CHARLES (cont.)
(angrily)
Do you?
(angrily)
Do you?
Charlotte shakes her head.
CHARLES (cont.)
His name is Amir Asheri.
His name is Amir Asheri.
Charlotte seems very frightened now.
CHARLOTTE
The terrorist?
CHARLES
Yes Charlotte, the terrorist.
The terrorist?
CHARLES
Yes Charlotte, the terrorist.
Charlotte remains silent.
C
HARLES (cont.)
What did you hear, Charlotte?
CHARLOTTE
Something about seven targets. An attack? I'm sorry, Sir. I didn't mean to eavesdrop, I just happened to hear. What is going on, Sir? Why are you talking to a terrorist?
CHARLES
Charlotte, listen to me very carefully. Nobody is supposed to know about this, but circumstances change. I've been covertly working with the FBI and CIA for the past three months. We are finally going to get the bastard, Charlotte. This is a matter of great national security.
CHARLOTTE
Why you, Sir?
CHARLES
I'm not sure if you've noticed, but I haven't got a great reputation in the world. People have labeled me many things in my short time in office. Do you understand?
CHARLOTTE
You’re believable.
What did you hear, Charlotte?
CHARLOTTE
Something about seven targets. An attack? I'm sorry, Sir. I didn't mean to eavesdrop, I just happened to hear. What is going on, Sir? Why are you talking to a terrorist?
CHARLES
Charlotte, listen to me very carefully. Nobody is supposed to know about this, but circumstances change. I've been covertly working with the FBI and CIA for the past three months. We are finally going to get the bastard, Charlotte. This is a matter of great national security.
CHARLOTTE
Why you, Sir?
CHARLES
I'm not sure if you've noticed, but I haven't got a great reputation in the world. People have labeled me many things in my short time in office. Do you understand?
CHARLOTTE
You’re believable.
Charles nods. It seems to make sense to Charlotte, in some crazy way. She loosens up a bit.
CHARLES (cont.)
This conversation cannot leave this room. Do you understand?
This conversation cannot leave this room. Do you understand?
Charlotte nods.
CHARLOTTE
Absolutely, Sir. I'm sorry for getting involved.
CHARLES
It's alright. It's not your fault. I suppose I should have been more discreet. Not just talking out in the open like that.
Absolutely, Sir. I'm sorry for getting involved.
CHARLES
It's alright. It's not your fault. I suppose I should have been more discreet. Not just talking out in the open like that.
Charles smiles, making Charlotte laugh.
INT. ABADDON RESIDENCE – EVENING (FROM 1x04 “GEORGIA ON MY MIND”)
Sydney helps Thomas pack a small suitcase. Clothes, toiletries, toys, etc. She looks confused and worried.
EXT. NEW YORK CITY – DAY (FROM 1x05 “THE RED HERRING”)
The streets are busy, as always. A white PEST CONTROL van drives by and into a nearby parking garage.
INT. PARKING GARAGE - DAY
The CAMERA sits at ground-level of a parking spot. The van slices into the spot, coming inches from the camera. The vehicle remains running as someone exits. We watch their boots as they walk to the rear of the van. The rear-doors open.
BEAT as the person does something in the back of the van. Our P.O.V. is still as if we were underneath the vehicle.
There is a SCREECHING sound as we see a second vehicle pull up behind the van. CAMERA rises until we see the back of the person from the van as they approach the car. It's a man, dressed in a blue workers uniform. A long black ponytail hangs out underneath his cap.
As he opens the car door he looks back at the van one last time. We now see it is AMIR ASHERI. He get's in the car and they speed off loudly.
PAN back to the rear-door of the van. CLOSE UP on the window, until we can see inside. We see a blinking green light. An even closer look reveals something terrible. Unimaginable.
It's a NUCLEAR BOMB.
EXT. CLOCK TOWER ROOF – DAY (FROM 1x05 “THE RED HERRING”)
Suddenly the ground begins to SHAKE wildly, swaying them to the left and to the right. It feels like a strong earthquake. Seth is holding on to the ledge, nearly toppling off the side. Then the sky lights up brightly, a blinding white light.
CUT TO:
EXT. AMBULANCE - DAY
The Ambulance drives down the highway at a blistering speed until BOOM! A enormous gust of energy slams into it, violently tipping it over and causing it to roll a few times.
EXT. PARK - DAY
Again, the sky turns bright white and a deafening rumbling noise is heard. Charles barely reacts to it. Charlotte looks off in the distance terrified, holding on for her life.
INT. CLOCK TOWER - DAY
The sky is returning to normal, visibility is returning. Seth and Ron look in awe toward Manhattan Island. They're jaws practically hitting the floor. Then we see it. A large black mushroom cloud rising toward the sky in the distance. Everything is eerily quiet, like right before a tornado hits.
EXT. PARK - DAY
Roy stares at the cloud, terrified and mesmerized. Charlotte finally brings herself to look away, now looking toward Charles. He returns the look in a stern, controlled manner. Instantly, the sound ZOOMS back in as everyone completely FLIPS OUT! They run in every direction, stampedes of frightened people. All screaming at the top of their lungs. Many of them weep as they look at the intense mushroom cloud.
INT. CLOCK TOWER - DAY
Ron stares at the cloud hypnotically.
RON
Oh my God...
Oh my God...
EXT. CENTRAL PARK – 2019 – NIGHT (FROM “PILOT”)
CHARLES
So now, we let the rebuilding process begin. Tonight, my brothers and sisters, marks a new beginning. The lifting of the veil!
So now, we let the rebuilding process begin. Tonight, my brothers and sisters, marks a new beginning. The lifting of the veil!
CLOCKS SEASON FINALE
WEDNESDAY!
CUT TO BLACK.
WEDNESDAY!
CUT TO BLACK.
