12 Monkeys (2015) s04e09 Episode Script
One Minute More
1 [low ambient music.]
"There once was a serpent "who only traveled one direction: always forward, never backward.
" [soft piano music.]
"Until one day, the serpent came upon a demon.
" "The demon cursed the serpent, "driving him insane, causing him to eat his own tail.
" "The serpent was blind, "but a few, those who were serious, "knew the serpent's true path, "so they created a weapon, a weapon to destroy the demon.
" [music swells.]
[low ambient music.]
[echoing crack.]
[light splatting.]
[panting.]
Ticky-tock those eyes left, right, swaying like a granddaddy clock.
Jennifer, where have you been? - [groans.]
- Whoa, whoa Whoa, hey-hey-hey.
Cole! Hey, Jennifer, hey, stay with me.
- Jennifer - Ms.
Goines, what happened? It was all in here Now it's all in there.
Told you, Otter Eyes.
If you gave me yellow I could paint you the world! [voice echoes.]
Oh, my God.
[mysterious music.]
What the hell is this? Some kind of Primary message? The Primaries had ample time to say what they mean.
This isn't a message.
[low ambient music.]
They've given us one final mystery to solve.
[dramatic music.]
Deacon's? I miss him.
So do I.
I cleaned the wounds, but they're just gonna hurt for a little while.
I'm sorry, there isn't much more I could do.
[low ambient music.]
You're a good doctor, Cassie.
[mumbles, clears throat.]
[grunting.]
The symbols What do they mean? What are we looking for? The center.
54 unique symbols, by my count, in no apparent order.
The various strands and pieces don't even align, so there's no telling the logic.
Far too many to be numeric; twice too many to be alphabetical.
There doesn't appear to be a pattern.
It's completely random.
[tense music.]
[footsteps running, approaching.]
We're looking at them from the wrong angle.
Start at the center.
It's a spiral.
They're puzzle pieces.
They fit together.
[keyboard clacking.]
Ten macro-symbols, representing zero through nine.
Presented in a logarithmic spiral.
[slow, solemn string music.]
This is a program for a machine.
There seems to be a pattern of two symbols repeating in groups of four.
These are dates.
With which of these are we most familiar? 1-9 and 2-0: the 1900s and the 2000s.
Given four numbers, I should be able to decipher the rest.
The Primaries built a machine for you, Mr.
Cole.
Perhaps this can tell us where it was meant to send you.
[dark tones, high-pitched ringing.]
[distant siren wailing.]
[tense music.]
Get dressed, Marion.
We have to stay on the move, find a way back to my mother.
We should drive down to Raritan.
Katerina and Elliot clearly know you.
- Hey, Marion, this is - My name is Emma.
Marion is just a name I made up [solemn string music.]
The name that I chose for myself.
It was the first choice I ever made.
Now you can choose to help us.
You cannot stop what never began.
Not you, not Katerina, not James Cole.
Your son.
It may begin and end with her, but somehow in the middle is you and him.
That's impossible.
- No, I haven't had a child.
- You will.
That's why I was sent here, to find you, to find out how James's mother knew the legend, and now I know.
[echoing.]
What's it mean? [echoing.]
I don't know.
I didn't write it.
Who did? [sighs.]
Your mother.
You're not meant to destroy the world, Marion.
You're meant to help save it.
[crickets chirping.]
What if Katerina and Elliot don't believe us? I'm their daughter.
DNA - Yeah, we can prove it.
- Yeah.
I'm going to be a mother.
[laughs.]
- [car crashes.]
- Oh! [tires screeching, engine revving.]
[gasps.]
They found us! [gunshots.]
Hold on! [dramatic music.]
[gasps, grunts.]
[engine revving.]
- [car bangs.]
- [gasping.]
[engine revving.]
- [grunts.]
- [gasps.]
[car crashes, items clatter.]
[low ambient music.]
Within the Primary code, we found dozens of temporal coordinates, more specifically, our coordinates.
2013, then 2015: Philadelphia.
1987: Tokyo.
'44, '75, 1491, and so on.
Everywhere, every-when you've ever been.
Except one.
A set of coordinates which doesn't match anything in our system.
April 3rd, 2018: New York, JFK Airport.
That's two days before The plague.
[music swells.]
[low, tense music.]
Our first mission.
The best weapon to kill Olivia? Destroy the one that made her.
The first reported cases of the virus were global and simultaneous Argentina, London, Prague New York, on the 5th and 6th of April.
Why two days before? The plague has an incubation period of 24 to 48 hours.
You can't survive it.
You can only spread it.
And in 36 hours, the world will realize it's over.
And JFK is one of the most traveled international airports in North America.
This time this place Is when they release the plague.
[intense percussive music.]
Initiate splinter sequence.
[machine whirring, accelerates.]
[soft, high-pitched ringing.]
[aery ambience.]
[heavy breathing.]
[screaming.]
[echoing.]
Officer down! Officer down! We have an active shooter: Terminal One concourse.
Officer down! [ominous tone.]
[tense, pulsating percussive music.]
[ominous tone.]
[tense music.]
Cole! - The virus! - [grunts.]
[siren wailing.]
[glass shatters.]
[dramatic music.]
Behind you! [dramatic tone.]
[tense music.]
We need to restart.
[dramatic music.]
[low ambient music.]
It's definitely M5-10.
We never knew how it was released.
We do now.
If they only had one remaining sample.
Well, then this is how you maximize its impact: turn a building full of innocent people into traveling time bombs.
[siren wailing, people clamoring.]
[dramatic tone.]
So what now? Go back and stop the tall man from dropping it? Or steal it out from under him before he can.
One guess where they've been keeping it.
[music swells.]
[dark tones.]
[high-pitched ringing.]
[crickets chirping.]
After Jennifer vanished, the whole business collapsed.
Scrapped and sold off for parts.
That'll happen when your CEO promises to genetically engineer a unicorn.
The plague, another Markridge facility.
It's too easy.
Something's off.
Come on.
This feel familiar to you? The Night Room.
[sparks buzzing.]
[echoing laughter.]
[mechanical hissing.]
[echoing.]
What is that thing? [echoing.]
The origin.
inside that'll make a centuries-old virus.
There's something about its eyes.
[echoing.]
It's eyes [low ambient music.]
I think that's us.
[eerie, ominous chords.]
Power's still on.
Cold storage.
[music builds.]
[electronic beep.]
[door clicks, mechanical hissing.]
[dramatic music.]
That's it, the one from the airport.
[exhales.]
Now we just need to destroy it.
- [elevator dings.]
- I just don't wanna accidentally release the damn thing in a hotel in Midtown.
Well, viruses need specific conditions to thrive.
They take time to die.
We burned it last time, but since you don't want to set the hotel on fire, we'll drown it.
[ominous tone.]
[gun clicks.]
[eerie, ominous chords.]
[low ambient music.]
Hannah? You've been stranded here for years.
Why didn't you find us sooner? And risk it all? Causality? Accidentally undo something that shouldn't be undone? I couldn't, so I waited.
What happened? [prolonged car honk.]
[eerie music.]
[horn stops.]
[engine revs, tires screech.]
[dramatic music.]
[door clicks, opens.]
[tense percussive music.]
[door thuds closed.]
- We gotta go.
Come on.
- [groans.]
- Come on.
- [groans sharply.]
[dramatic music.]
[gunshots.]
[insects chirping and buzzing.]
[both panting.]
Okay Hello? Help! Somebody's hurt! Hello? [dramatic tone.]
Jones sent you to find my mother? Hey, hey, what's going on? - What happened to you? - No, it was not me.
The car crashed, um, the man was shooting, then - It's okay.
It's okay.
- Please.
It's it's all right.
[soft piano music.]
Marion was the name she chose.
Before that, there was Emma.
She was from Titan.
[ominous music.]
[electrical blasts.]
She was born with a single purpose [slow, intense percussive music.]
To complete Titan so that it could initiate one final sequence, something that my father called the Hartle Hawking State: space without time, their Red Forest.
[machine droning.]
[rumbling, whirring.]
Titan will create a paradox of time itself, moments over moments, so great that it could never be undone.
[towers whirring, droning.]
Its effects will be felt across every hour, every minute, every second simultaneously.
Every day that ever existed will be the last day on earth.
[alarm chiming.]
Ms.
Goines? Doomsday alarm woke me up.
The readings from Titan are unprecedented.
The sheer volume of temporal energy is astounding.
My mother once said that time travel was both the cause and the effect of all of this.
But none of that matters anymore.
We have the virus.
The Primaries sent us here to destroy it.
Once Olivia turns on her weapon, begins her Red Forest, she'll exist outside of causality.
Destroying the plague won't stop her.
But it will rob us of the only weapon we have to use against her [dramatic music.]
Time travel.
The Primaries didn't send us here to stop the plague.
They sent us here to release it.
No.
No, no! This whole mission has been about saving 7 billion people, not killing them.
You can't ask me to do this.
For what? Either 7 billion people die today Or everyone dies forever.
[gentle orchestral music.]
[record crackling.]
[machine whirring.]
[women singing in foreign language.]
[audio rewinds.]
James Cole.
- [explosion.]
- [yells.]
James Cole.
[voice echoes.]
Why do they know him? [audio rewinds.]
The only one of true importance is James Cole! Why? [audio rewinds.]
[pattering.]
You shouldn't be here.
You have work to finish.
[voice echoes.]
The virus was taken by James and Cassandra on the eve of its release.
They've interfered again.
Broken yet another cycle.
James Cole somehow remains a threat to our perfect realm.
Today, I will end his cycle, and then I will ensure the plague is born not as you may have intended, but as it always has.
The Witness has spoken.
Mothers die for their children.
Yours died protecting you.
What was she like? Lost, I think.
She always said she felt trapped between two worlds, the one she was raised in and this one, the world she came to know.
[soft ambient music.]
She grew up without her mother.
Never knew her father.
I don't think she realized how much that it shaped her, until she was faced with the idea of giving you up.
So she left, handed me off to my dad with nothing but that bullshit story.
No.
The story's not over yet, James.
[slow, purposeful string music.]
We should go.
Go home.
[door clicks open.]
[door closes.]
You sent them where? We found the coordinates in your code: hundreds of dates, our splinters, and among them, the origin of the plague.
Even for a mad hatter, that doesn't make sense.
Wh why a thousand dates when you only need one? You don't gift-wrap a needle with a haystack.
But the Primaries built a machine.
That you needed a machine to get to.
Unless it wasn't about the machine but about its function.
Maybe it was maybe it was never meant meant [stammering.]
[engine whooshing.]
[tense music.]
[baby crying.]
[indistinct chatter.]
Cole there was a time we made a promise to these people.
[exhales.]
Just remember what you told me, over and over again, before we even met Sometimes terrible things happen BOTH: So that great things can happen next.
All this time It was always us.
[suspenseful music.]
[dramatic music.]
Okay.
It's okay, Jonesy.
It's okay.
[slow, soft music.]
I need to see this to the end.
I have to.
[soft string music.]
You will.
I'm here.
I'll push you until the clocks stop and the road runs out.
I did my damnedest to enter every coordinate, every date, but it's little more than a jumble of data.
Okay a weapon to destroy the demon But how would you do that exactly? The loops and tangles of time.
To stop something that never started, to end something that never began, you must break them.
Untangle Dr.
Adler, run a simulation: the Primary code against the current time stream.
[musical thrumming.]
[dramatic music.]
[tense music.]
This is a simulation of the current time stream as we know it.
When we initiate the Primary code sequence [beeping, chirping.]
- The serpent's free! - Yeah.
Only traveling in one direction again.
The loops are broken, erased.
Julian, show me those splinter coordinates again.
[screaming.]
You were right, Katarina.
These dates do not represent all our splinters.
No, only Mr.
Cole's.
[intense percussive music.]
This is every time he has traveled, every moment he has affected the time stream.
- It's his entire life.
- [tense music.]
This was never about splintering.
[music builds.]
[tense music.]
Let me do this for you.
This was designed to destroy a Djinn, and a Djinn cannot be deleted from just one moment.
It has to be removed from every moment.
The Primaries built a machine to erase James Cole.
[music swells.]
[tense music.]
No.
Cole can't be a Djinn.
You said yourself, this is something that can only be born of time travel.
Cole's father wasn't a traveler.
His mother, Marion.
[gun clicks.]
[low ambient music.]
[gunshot.]
Hannah - [gunshot.]
- [groans.]
No! [gasping.]
- Hey - Hey.
[people screaming.]
- [gunshot.]
- [grunts.]
[eerie music.]
[people screaming, alarm blaring.]
Hey it's okay.
[gasping.]
It's okay.
This was my choice.
This was all I could do: be here protect you one last time.
[gasps.]
Mothers die for their children.
Yours died protecting you.
[voice echoes.]
[echoing.]
So she left [echoing.]
No.
The story's not over yet, James.
[echoing.]
I never wanted any of this for you.
[gasping.]
Hannah, hey [alarm blaring.]
[people screaming, alarm blaring.]
[echoing.]
Before the day is done, I imagine you'll understand, that without time's will, its shackles, there is the after of a Red Forest Where one never has to choose anything over the ones they love.
That's unfair.
You know, time is cruel.
[soft music.]
You know, I watched the ones I love die, - defeated by time.
- [muffled gunshot.]
In the end, we all lose Yet you may yet win if you choose to.
Good-bye, Cassandra.
[solemn music.]
[harrowing music.]
[glass shatters.]
[shards pinging.]
"Dear, James" [soft string music.]
"I'm not sure if you'll ever find this" [machine whirs, rattles.]
[rumbling.]
"If there will come a time when you need the truth.
" "Perhaps someday, I will have the chance to tell you myself.
" "But however you hear the tale, I want you to be certain of one thing" "It was "is a love story.
" [warm, gentle music.]
You all right? [ominous music.]
Hey, hold on! - Help me get her in the truck.
- Okay.
"The first time I met your father "was an act of bravery: a good man risking all and asking nothing" You're okay.
Breathe.
Look at me.
Be calm.
"Fighting to save the life of a stranger.
" [engine turns over.]
[solemn music.]
[engine revs.]
"He reminded me of you, of the man you would become.
" "If for a moment, the future taught me anything" [soft piano music.]
"It was the peace of a simple life" "Of hunting, fishing" "Of quiet moments away from the world.
" "He lived like I was raised.
" "I knew your father before I ever knew his name.
" [solemn music.]
[truck pulling in.]
[poignant music.]
She didn't make it.
I'm sorry.
She kept calling for you.
Marion, right? I'm Matthew.
"Why did I stay?" "To protect him, should they ever come?" "Or was it because, "for all my mother's talk of causality and eventuality, I'd finally found something that felt like fate?" "Every day, I thought about leaving" "And every day, he gave me a reason to stay.
" Teach me.
[chuckles.]
[chuckles.]
Yeah she's a stubborn one.
She? A car like this, it gets you where you're going, points you straight, kicks back when you hit the wrong gear.
- [chuckles.]
- She's definitely a woman.
I just can't get her running.
Well, my father used to say, "The common core of all great achievement is failure.
" I like that.
Fancy way of saying, "The only failure is giving up.
" [chuckles softly.]
Will you hold that in place right there? Let me get in here with this.
"He was kind, honest.
He made me laugh.
" [giggles.]
[soft piano music.]
"I knew we would never grow old together, but I loved him anyway.
" [fire crackling.]
"Timeless and without hesitation.
" [warm string music.]
[engine turns over.]
[engine revs.]
[cheerful piano music.]
"I wanted it to last" [soft string music.]
"But I knew I couldn't stay" "For him for you" [engine humming.]
"For all those we've yet to save.
" "I told you this was a love story, "and it is.
Not just of a woman for a man" [distressed breathing.]
"But a father for his son.
" "This letter, James, "is the last story I have left to tell you.
The first, I think you know.
" [sighs.]
"Thank you, James.
"You saved my life when I was a child.
You saved my soul when you were born.
" "I was, in my life, proud to be a Daughter" "But proudest to be your mother.
" [dark tones, high-pitched ringing.]
[distant siren wailing.]
[fire crackling.]
We had to tell you.
That should be your choice.
For years, I was by myself, but I was never alone.
I saw you once, sitting in the park, looking down at the luckiest little girl.
The way you looked at me, the way you're looking at me now [soft string music.]
And I wondered how anyone could ever love anything that much.
[chuckles.]
And I saw you.
I was there when you lost your father.
And I was there when you found your brother.
I'll be there at the end, at the airport.
I can't bear to say good-bye Because when we do this moment between the three of us [sighs.]
It will be over.
So, maybe one minute more? There's still time.
[thunder rumbling.]
[thunder crashing.]
[dramatic music.]
[electrical blasts.]
[thunder rumbling.]
I'm the demon.
[ominous music.]
"There once was a serpent "who only traveled one direction: always forward, never backward.
" [soft piano music.]
"Until one day, the serpent came upon a demon.
" "The demon cursed the serpent, "driving him insane, causing him to eat his own tail.
" "The serpent was blind, "but a few, those who were serious, "knew the serpent's true path, "so they created a weapon, a weapon to destroy the demon.
" [music swells.]
[low ambient music.]
[echoing crack.]
[light splatting.]
[panting.]
Ticky-tock those eyes left, right, swaying like a granddaddy clock.
Jennifer, where have you been? - [groans.]
- Whoa, whoa Whoa, hey-hey-hey.
Cole! Hey, Jennifer, hey, stay with me.
- Jennifer - Ms.
Goines, what happened? It was all in here Now it's all in there.
Told you, Otter Eyes.
If you gave me yellow I could paint you the world! [voice echoes.]
Oh, my God.
[mysterious music.]
What the hell is this? Some kind of Primary message? The Primaries had ample time to say what they mean.
This isn't a message.
[low ambient music.]
They've given us one final mystery to solve.
[dramatic music.]
Deacon's? I miss him.
So do I.
I cleaned the wounds, but they're just gonna hurt for a little while.
I'm sorry, there isn't much more I could do.
[low ambient music.]
You're a good doctor, Cassie.
[mumbles, clears throat.]
[grunting.]
The symbols What do they mean? What are we looking for? The center.
54 unique symbols, by my count, in no apparent order.
The various strands and pieces don't even align, so there's no telling the logic.
Far too many to be numeric; twice too many to be alphabetical.
There doesn't appear to be a pattern.
It's completely random.
[tense music.]
[footsteps running, approaching.]
We're looking at them from the wrong angle.
Start at the center.
It's a spiral.
They're puzzle pieces.
They fit together.
[keyboard clacking.]
Ten macro-symbols, representing zero through nine.
Presented in a logarithmic spiral.
[slow, solemn string music.]
This is a program for a machine.
There seems to be a pattern of two symbols repeating in groups of four.
These are dates.
With which of these are we most familiar? 1-9 and 2-0: the 1900s and the 2000s.
Given four numbers, I should be able to decipher the rest.
The Primaries built a machine for you, Mr.
Cole.
Perhaps this can tell us where it was meant to send you.
[dark tones, high-pitched ringing.]
[distant siren wailing.]
[tense music.]
Get dressed, Marion.
We have to stay on the move, find a way back to my mother.
We should drive down to Raritan.
Katerina and Elliot clearly know you.
- Hey, Marion, this is - My name is Emma.
Marion is just a name I made up [solemn string music.]
The name that I chose for myself.
It was the first choice I ever made.
Now you can choose to help us.
You cannot stop what never began.
Not you, not Katerina, not James Cole.
Your son.
It may begin and end with her, but somehow in the middle is you and him.
That's impossible.
- No, I haven't had a child.
- You will.
That's why I was sent here, to find you, to find out how James's mother knew the legend, and now I know.
[echoing.]
What's it mean? [echoing.]
I don't know.
I didn't write it.
Who did? [sighs.]
Your mother.
You're not meant to destroy the world, Marion.
You're meant to help save it.
[crickets chirping.]
What if Katerina and Elliot don't believe us? I'm their daughter.
DNA - Yeah, we can prove it.
- Yeah.
I'm going to be a mother.
[laughs.]
- [car crashes.]
- Oh! [tires screeching, engine revving.]
[gasps.]
They found us! [gunshots.]
Hold on! [dramatic music.]
[gasps, grunts.]
[engine revving.]
- [car bangs.]
- [gasping.]
[engine revving.]
- [grunts.]
- [gasps.]
[car crashes, items clatter.]
[low ambient music.]
Within the Primary code, we found dozens of temporal coordinates, more specifically, our coordinates.
2013, then 2015: Philadelphia.
1987: Tokyo.
'44, '75, 1491, and so on.
Everywhere, every-when you've ever been.
Except one.
A set of coordinates which doesn't match anything in our system.
April 3rd, 2018: New York, JFK Airport.
That's two days before The plague.
[music swells.]
[low, tense music.]
Our first mission.
The best weapon to kill Olivia? Destroy the one that made her.
The first reported cases of the virus were global and simultaneous Argentina, London, Prague New York, on the 5th and 6th of April.
Why two days before? The plague has an incubation period of 24 to 48 hours.
You can't survive it.
You can only spread it.
And in 36 hours, the world will realize it's over.
And JFK is one of the most traveled international airports in North America.
This time this place Is when they release the plague.
[intense percussive music.]
Initiate splinter sequence.
[machine whirring, accelerates.]
[soft, high-pitched ringing.]
[aery ambience.]
[heavy breathing.]
[screaming.]
[echoing.]
Officer down! Officer down! We have an active shooter: Terminal One concourse.
Officer down! [ominous tone.]
[tense, pulsating percussive music.]
[ominous tone.]
[tense music.]
Cole! - The virus! - [grunts.]
[siren wailing.]
[glass shatters.]
[dramatic music.]
Behind you! [dramatic tone.]
[tense music.]
We need to restart.
[dramatic music.]
[low ambient music.]
It's definitely M5-10.
We never knew how it was released.
We do now.
If they only had one remaining sample.
Well, then this is how you maximize its impact: turn a building full of innocent people into traveling time bombs.
[siren wailing, people clamoring.]
[dramatic tone.]
So what now? Go back and stop the tall man from dropping it? Or steal it out from under him before he can.
One guess where they've been keeping it.
[music swells.]
[dark tones.]
[high-pitched ringing.]
[crickets chirping.]
After Jennifer vanished, the whole business collapsed.
Scrapped and sold off for parts.
That'll happen when your CEO promises to genetically engineer a unicorn.
The plague, another Markridge facility.
It's too easy.
Something's off.
Come on.
This feel familiar to you? The Night Room.
[sparks buzzing.]
[echoing laughter.]
[mechanical hissing.]
[echoing.]
What is that thing? [echoing.]
The origin.
inside that'll make a centuries-old virus.
There's something about its eyes.
[echoing.]
It's eyes [low ambient music.]
I think that's us.
[eerie, ominous chords.]
Power's still on.
Cold storage.
[music builds.]
[electronic beep.]
[door clicks, mechanical hissing.]
[dramatic music.]
That's it, the one from the airport.
[exhales.]
Now we just need to destroy it.
- [elevator dings.]
- I just don't wanna accidentally release the damn thing in a hotel in Midtown.
Well, viruses need specific conditions to thrive.
They take time to die.
We burned it last time, but since you don't want to set the hotel on fire, we'll drown it.
[ominous tone.]
[gun clicks.]
[eerie, ominous chords.]
[low ambient music.]
Hannah? You've been stranded here for years.
Why didn't you find us sooner? And risk it all? Causality? Accidentally undo something that shouldn't be undone? I couldn't, so I waited.
What happened? [prolonged car honk.]
[eerie music.]
[horn stops.]
[engine revs, tires screech.]
[dramatic music.]
[door clicks, opens.]
[tense percussive music.]
[door thuds closed.]
- We gotta go.
Come on.
- [groans.]
- Come on.
- [groans sharply.]
[dramatic music.]
[gunshots.]
[insects chirping and buzzing.]
[both panting.]
Okay Hello? Help! Somebody's hurt! Hello? [dramatic tone.]
Jones sent you to find my mother? Hey, hey, what's going on? - What happened to you? - No, it was not me.
The car crashed, um, the man was shooting, then - It's okay.
It's okay.
- Please.
It's it's all right.
[soft piano music.]
Marion was the name she chose.
Before that, there was Emma.
She was from Titan.
[ominous music.]
[electrical blasts.]
She was born with a single purpose [slow, intense percussive music.]
To complete Titan so that it could initiate one final sequence, something that my father called the Hartle Hawking State: space without time, their Red Forest.
[machine droning.]
[rumbling, whirring.]
Titan will create a paradox of time itself, moments over moments, so great that it could never be undone.
[towers whirring, droning.]
Its effects will be felt across every hour, every minute, every second simultaneously.
Every day that ever existed will be the last day on earth.
[alarm chiming.]
Ms.
Goines? Doomsday alarm woke me up.
The readings from Titan are unprecedented.
The sheer volume of temporal energy is astounding.
My mother once said that time travel was both the cause and the effect of all of this.
But none of that matters anymore.
We have the virus.
The Primaries sent us here to destroy it.
Once Olivia turns on her weapon, begins her Red Forest, she'll exist outside of causality.
Destroying the plague won't stop her.
But it will rob us of the only weapon we have to use against her [dramatic music.]
Time travel.
The Primaries didn't send us here to stop the plague.
They sent us here to release it.
No.
No, no! This whole mission has been about saving 7 billion people, not killing them.
You can't ask me to do this.
For what? Either 7 billion people die today Or everyone dies forever.
[gentle orchestral music.]
[record crackling.]
[machine whirring.]
[women singing in foreign language.]
[audio rewinds.]
James Cole.
- [explosion.]
- [yells.]
James Cole.
[voice echoes.]
Why do they know him? [audio rewinds.]
The only one of true importance is James Cole! Why? [audio rewinds.]
[pattering.]
You shouldn't be here.
You have work to finish.
[voice echoes.]
The virus was taken by James and Cassandra on the eve of its release.
They've interfered again.
Broken yet another cycle.
James Cole somehow remains a threat to our perfect realm.
Today, I will end his cycle, and then I will ensure the plague is born not as you may have intended, but as it always has.
The Witness has spoken.
Mothers die for their children.
Yours died protecting you.
What was she like? Lost, I think.
She always said she felt trapped between two worlds, the one she was raised in and this one, the world she came to know.
[soft ambient music.]
She grew up without her mother.
Never knew her father.
I don't think she realized how much that it shaped her, until she was faced with the idea of giving you up.
So she left, handed me off to my dad with nothing but that bullshit story.
No.
The story's not over yet, James.
[slow, purposeful string music.]
We should go.
Go home.
[door clicks open.]
[door closes.]
You sent them where? We found the coordinates in your code: hundreds of dates, our splinters, and among them, the origin of the plague.
Even for a mad hatter, that doesn't make sense.
Wh why a thousand dates when you only need one? You don't gift-wrap a needle with a haystack.
But the Primaries built a machine.
That you needed a machine to get to.
Unless it wasn't about the machine but about its function.
Maybe it was maybe it was never meant meant [stammering.]
[engine whooshing.]
[tense music.]
[baby crying.]
[indistinct chatter.]
Cole there was a time we made a promise to these people.
[exhales.]
Just remember what you told me, over and over again, before we even met Sometimes terrible things happen BOTH: So that great things can happen next.
All this time It was always us.
[suspenseful music.]
[dramatic music.]
Okay.
It's okay, Jonesy.
It's okay.
[slow, soft music.]
I need to see this to the end.
I have to.
[soft string music.]
You will.
I'm here.
I'll push you until the clocks stop and the road runs out.
I did my damnedest to enter every coordinate, every date, but it's little more than a jumble of data.
Okay a weapon to destroy the demon But how would you do that exactly? The loops and tangles of time.
To stop something that never started, to end something that never began, you must break them.
Untangle Dr.
Adler, run a simulation: the Primary code against the current time stream.
[musical thrumming.]
[dramatic music.]
[tense music.]
This is a simulation of the current time stream as we know it.
When we initiate the Primary code sequence [beeping, chirping.]
- The serpent's free! - Yeah.
Only traveling in one direction again.
The loops are broken, erased.
Julian, show me those splinter coordinates again.
[screaming.]
You were right, Katarina.
These dates do not represent all our splinters.
No, only Mr.
Cole's.
[intense percussive music.]
This is every time he has traveled, every moment he has affected the time stream.
- It's his entire life.
- [tense music.]
This was never about splintering.
[music builds.]
[tense music.]
Let me do this for you.
This was designed to destroy a Djinn, and a Djinn cannot be deleted from just one moment.
It has to be removed from every moment.
The Primaries built a machine to erase James Cole.
[music swells.]
[tense music.]
No.
Cole can't be a Djinn.
You said yourself, this is something that can only be born of time travel.
Cole's father wasn't a traveler.
His mother, Marion.
[gun clicks.]
[low ambient music.]
[gunshot.]
Hannah - [gunshot.]
- [groans.]
No! [gasping.]
- Hey - Hey.
[people screaming.]
- [gunshot.]
- [grunts.]
[eerie music.]
[people screaming, alarm blaring.]
Hey it's okay.
[gasping.]
It's okay.
This was my choice.
This was all I could do: be here protect you one last time.
[gasps.]
Mothers die for their children.
Yours died protecting you.
[voice echoes.]
[echoing.]
So she left [echoing.]
No.
The story's not over yet, James.
[echoing.]
I never wanted any of this for you.
[gasping.]
Hannah, hey [alarm blaring.]
[people screaming, alarm blaring.]
[echoing.]
Before the day is done, I imagine you'll understand, that without time's will, its shackles, there is the after of a Red Forest Where one never has to choose anything over the ones they love.
That's unfair.
You know, time is cruel.
[soft music.]
You know, I watched the ones I love die, - defeated by time.
- [muffled gunshot.]
In the end, we all lose Yet you may yet win if you choose to.
Good-bye, Cassandra.
[solemn music.]
[harrowing music.]
[glass shatters.]
[shards pinging.]
"Dear, James" [soft string music.]
"I'm not sure if you'll ever find this" [machine whirs, rattles.]
[rumbling.]
"If there will come a time when you need the truth.
" "Perhaps someday, I will have the chance to tell you myself.
" "But however you hear the tale, I want you to be certain of one thing" "It was "is a love story.
" [warm, gentle music.]
You all right? [ominous music.]
Hey, hold on! - Help me get her in the truck.
- Okay.
"The first time I met your father "was an act of bravery: a good man risking all and asking nothing" You're okay.
Breathe.
Look at me.
Be calm.
"Fighting to save the life of a stranger.
" [engine turns over.]
[solemn music.]
[engine revs.]
"He reminded me of you, of the man you would become.
" "If for a moment, the future taught me anything" [soft piano music.]
"It was the peace of a simple life" "Of hunting, fishing" "Of quiet moments away from the world.
" "He lived like I was raised.
" "I knew your father before I ever knew his name.
" [solemn music.]
[truck pulling in.]
[poignant music.]
She didn't make it.
I'm sorry.
She kept calling for you.
Marion, right? I'm Matthew.
"Why did I stay?" "To protect him, should they ever come?" "Or was it because, "for all my mother's talk of causality and eventuality, I'd finally found something that felt like fate?" "Every day, I thought about leaving" "And every day, he gave me a reason to stay.
" Teach me.
[chuckles.]
[chuckles.]
Yeah she's a stubborn one.
She? A car like this, it gets you where you're going, points you straight, kicks back when you hit the wrong gear.
- [chuckles.]
- She's definitely a woman.
I just can't get her running.
Well, my father used to say, "The common core of all great achievement is failure.
" I like that.
Fancy way of saying, "The only failure is giving up.
" [chuckles softly.]
Will you hold that in place right there? Let me get in here with this.
"He was kind, honest.
He made me laugh.
" [giggles.]
[soft piano music.]
"I knew we would never grow old together, but I loved him anyway.
" [fire crackling.]
"Timeless and without hesitation.
" [warm string music.]
[engine turns over.]
[engine revs.]
[cheerful piano music.]
"I wanted it to last" [soft string music.]
"But I knew I couldn't stay" "For him for you" [engine humming.]
"For all those we've yet to save.
" "I told you this was a love story, "and it is.
Not just of a woman for a man" [distressed breathing.]
"But a father for his son.
" "This letter, James, "is the last story I have left to tell you.
The first, I think you know.
" [sighs.]
"Thank you, James.
"You saved my life when I was a child.
You saved my soul when you were born.
" "I was, in my life, proud to be a Daughter" "But proudest to be your mother.
" [dark tones, high-pitched ringing.]
[distant siren wailing.]
[fire crackling.]
We had to tell you.
That should be your choice.
For years, I was by myself, but I was never alone.
I saw you once, sitting in the park, looking down at the luckiest little girl.
The way you looked at me, the way you're looking at me now [soft string music.]
And I wondered how anyone could ever love anything that much.
[chuckles.]
And I saw you.
I was there when you lost your father.
And I was there when you found your brother.
I'll be there at the end, at the airport.
I can't bear to say good-bye Because when we do this moment between the three of us [sighs.]
It will be over.
So, maybe one minute more? There's still time.
[thunder rumbling.]
[thunder crashing.]
[dramatic music.]
[electrical blasts.]
[thunder rumbling.]
I'm the demon.
[ominous music.]