Episode #: 516/517

TH
O
“The Incident, Parts 1 & 2”

RWritten by
Damon Lindelof
&
Y
Carlton Cuse
M

Directed by
Jack Bender
M
SA

FINAL PRODUCTION DRAFT

April 2, 2009
© 2009 ABC Studios. All rights reserved. This material is the
exclusive property of ABC Studios and is intended solely for the use of
its personnel. Distribution to unauthorized persons or reproduction, in
whole or in part, without the written consent of ABC Studios is strictly
prohibited.
 LOST
“The Incident, Parts 1 & 2”
#516/517

CAST LIST

BEN.....................................Michael Emerson
HURLEY..................................Jorge Garcia
JACK....................................Matthew Fox
JIN.....................................Daniel Dae Kim
JULIET..................................Elizabeth Mitchell
KATE....................................Evangeline Lilly
LOCKE...................................Terry O’Quinn
MILES STRAUME...........................Ken Leung
SAWYER..................................Josh Holloway

TH
SAYID...................................Naveen Andrews
SUN.....................................Yunjin Kim

ROSE....................................L. Scott Caldwell

BERNARD.................................Sam Anderson
CHRISTIAN SHEPHARD......................John Terry
RICHARD ALPERT..........................Nestor Carbonell

O
FRANK LAPIDUS...........................Jeff Fahey
DR. PIERRE CHANG........................Francois Chau
PHIL....................................Patrick Fischler
RADZINSKY...............................Eric Lange

R
ILANA...................................Zuleikha Robinson
BRAM....................................Brad William Henke
ROGER LINUS.............................Jon Gries
ELOISE HAWKING (40 YEAR-OLD)............Alice Evans
NOOR “NADIA” ABED JASEEM................Andrea Gabriel
MITCH...................................Kevin Chapman
Y
JACOB...................................Mark Pellegrino
SAMUEL..................................Titus Welliver
YOUNG KATE..............................Emily Rae Argenti
M

YOUNG TOM...............................Tanner Maguire

MR. SPRINGER............................George Gerdes
AUNT SOO................................Agnes Kwak
MOTHER..................................Amy Stewart
YOUNG JULIET............................Rylee Fansler
M

YOUNG RACHEL............................Savannah Lathem

CAPTAIN BIRD............................William Makozak
ANESTHESIOLOGIST........................Daniel James Kunkel
RUSSIAN NURSE...........................Sonya Masinovsky
SA

YOUNG SAWYER............................Keegan Boos

UNCLE DOUG..............................Colby French
PRISON CLERK............................John Pete
FATHER..................................Michael Trisler
WOMAN...................................Sally Davis
CAB DRIVER..............................Adam Bazzi
PEOPLE (O.S.)...........................
SUB RADIO VOICE (V.O.)..................
P.A. ANNOUNCEMENT (V.O.)................

CUT:
AMY.....................................Reiko Aylesworth
 LOST
“The Incident, Parts 1 & 2”
#516/517

SET LIST

INTERIORS
MYSTERIOUS ROOM – Day (1890s, Late 2007)
AMES CENTRAL GENERAL STORE – Day (1991)
DHARMA SUB
SAWYER/JULIET/KATE AREA – Day (1977)
CONTROL ROOM – Day (1977)
UNDERGROUND TUNNELS
VAULTED ANCIENT CHAMBER – Day (1977)
TUNNELS – Day (1977)
YOUNG JULIET’S PARENTS’ LIVING ROOM – Day (1981)
HORACE/AMY’S DHARMA HOUSE
BASEMENT – Day (1977)
MAIN PART – Day (1977)
ST. SEBASTIAN HOSPITAL

TH
OPERATING ROOM – Day (1992)
BREAK ROOM – Day (1992)
DHARMA VAN – Day (1977)
RUSSIAN HOSPITAL – Day (FLASHBACK)
JACOB’S CABIN – Day (Late 2007)
L.A. COUNTY PRISON – DISCHARGE AREA – Day (Nov 2007)
CAB – Day (Nov 2007)
DRILL SHAFT – Day (1977)
BOTTOM OF HOLE – Day (1977)

O
CUT:
HORACE/AMY’S DHARMA HOUSE - HALLWAY – Day (1977)

EXTERIORS
BEACH

R
STATUE BEACH – Day (1890s, Late 2007)
LOCKE/OTHERS TREKKING #1 – Day (Late 2007)
ILANA/BRAM AREA – Day (Late 2007)
SAWYER/JULIET/KATE AREA – Day (1977)
LOCKE/OTHERS TREKKING #2 – Day (Late 2007)
OLD BEACH CAMP AREA - Day (Late 2007)
AMES CENTRAL GENERAL STORE – Day (1991)
Y
OCEAN
UNDERWATER – SUB – Day (1977)
SUBMARINE SURFACES – Day (1977)
CONNING TOWER – Day (1977)
LIFE RAFT – Day (1977)
M

SWAN CONSTRUCTION SITE

DRILL AREA – Day (1977)
EDGE OF CONSTRUCTION SITE – Day (1977)
MOUTH OF HOLE – Day (1977)
KOREAN TEMPLE
WEDDING AREA – Day (2000)
M

GARDENS – Day (2000)

JUNGLE
TREKKING TO ROSE/BERNARD’S – Day (1977)
ROSE/BERNARD’S CLEARING – Day (1977)
TREKKING TO JACOB’S CABIN – Day (Late 2007)
JACOB’S CABIN – Day (Late 2007)
SA

DHARMA ROAD – Day (1977)

JACK/SAWYER FIGHT AREA – Day (1977)
TREKKING TO STATUE – Dusk (Late 2007)
OUTSIDE DHARMA VAN – Day (1977)
NEARBY JUNGLE – Day (1977)
SWAN CONSTRUCTURE SITE OVERLOOK AREA – Day (1977)
PATH TOWARD RIDGE – Day (1977)
HILLSIDE NEAR SWAN CONSTRUCTURE SITE – Day (1977)
DHARMAVILLE
HORACE/AMY’S DHARMA HOUSE – Day (1977)
MAIN AREA – Day (1977)
PARK BENCH BELOW BUIDLING – Day (2000)
SOUTHERN CHURCH – Day (1976)
SANTA MONICA BLVD CROSSWALK – Day (Oct 2005)
L.A. COUNTY PRISON – Day (Nov 2007)
 LOST
”The Incident, Parts 1 & 2”
#516/517

TEASER

1 INT. MYSTERIOUS ROOM - DAY 1

WE ARE CLOSE ON A WHEEL. And it is SPINNING.

TH
FLICKERING ORANGE FIRELIGHT dances over a pair of HANDS as
they work THREAD THROUGH A LARGE AND BEAUTIFUL OLD WOODEN
SPINNING WHEEL. TILTING UP NOW to FIND --

The MAN attached to those hands. HANDSOME. Probably about

forty. He wears a simple canvas WHITE SHIRT. HOLDING ON THE
MAN’S FACE, a certain CALMNESS about him as he dextrously

O
works the yarn from the wheel and we UPCUT TO:

A2 A FLICKERING FIRE PIT A2

R
The source of light in this otherwise DARK ROOM. The FIRE
CRACKLES from a pool of NATURAL OIL as we find --

The Man in White. Sitting now AT A LOOM, throwing the

SHUTTLE, working the FOOT PEDDLES. He is a MASTER working
with elegant artistry and dexterity. And NOW THE CAMERA SEES
Y
a bit of what he’s creating -- it is a beautiful and
intricate RUG. No... actually, rug is a fucking
understatement. This thing is a goddamn TAPESTRY.
M

We only get a cursory GLANCE at the intricate DESIGN woven

into it, but what we see looks like a series of ornate
Egyptian and Greek SYMBOLS, REPRESENTATIONS and PICTOGRAPHS.
The artistry of it seems to be coming straight from his SOUL.
M

And the work MAKES HIM SMILE. OFF him WEAVING, we CUT TO:

2 EXT. BEACH - DAY 2

SA

WAVES LAP up on the beach as the sun PEEKS OVER THE HORIZON.
A PAIR OF BARE FEET splash into the shallows as WE FIND the
Man in White, a ROPE in his hands, pants rolled up. He
follows the rope below the surface of the water, TUGS --

And out comes a RUDIMENTARY WOODEN TRAP containing TWO

FLAPPING FISH. Now we UPCUT TO:

A3 EXT. ROCKS - MORNING A3

A SERIES OF CUTS as we watch the Man PREPARE THE FISH -- THE

KNIFE he uses looks almost PRIMITIVE, the handle coiled in
ROPE as he expertly GUTS and FILETS and we UPCUT TO:
 2.

B3 A SMALL FIRE B3

The filleted fish COOKS on a HOT STONE that sits upon it.
The Man CROUCHING over it as he removes the fish with the
knife and slides it into a BANANA LEAF as we finally CUT TO:

3 EXT. BEACH - MORNING - LATER 3

The Man in White sits with his back against a rock. He dips
his fingers into the folded LEAF containing the cooked fish.
Pops it into his mouth, CHEWS as he looks out at the OCEAN --

TH
And there, on the horizon, but still MILES out, is what
appears to be a LARGE SHIP. Sailing towards the island.
It’s a circa 1860s SAILING SHIP -- all WOOD and MASTS.

VOICE (O.S.)
Good morning.

O
The Man looks up to see ANOTHER MAN walking over to his
rock. Slightly older. His clothes (also canvas and simple)
just so happen to be BLACK. Our Man doesn’t seem surprised

R
to see him, but he doesn’t seem necessarily PLEASED either --

THE MAN IN WHITE

Good morning.

THE MAN IN BLACK

Y
Mind if I join you?

WHITE
M

Please.
(then; offering)
Would you like some fish?

Black SMILES, shakes his head as he takes a seat on the rock.

M

BLACK
Thank you. I just ate.
SA

And now, White NODS out at the ocean --

WHITE
I take it you’re here because of
the ship?

BLACK
(nods)
I am.

The two men just sit there for a few beats, looking out at
the water. Then --

(CONTINUED)
 3.
3 CONTINUED: 3

BLACK (CONT’D)
How did they find the island?

WHITE
You’ll have to ask them when they
get here.

BLACK
I don’t have to ask.
(turns; looks at White)
You brought them here.

TH
White keeps his gaze on the ocean. But there’s a PLAYFUL
GLEAM in his eyes. Whatever the hell this man is accusing
him of, he’s not DENYING it. And now Black SIGHS --

BLACK (CONT’D)
You’re still trying to prove me

O
wrong, aren’t you?

And now, White finally LOOKS at him. A flash of emotion --

R
WHITE
You are wrong.

BLACK
Am I? They come. They fight.
They destroy. They corrupt. And
Y
it always ends the same.

WHITE
M

It only ends once. Everything that

happens before that is just...
(beat; measured)
Progress.
M

ON BLACK. He just LOOKS at White. And we can see it in his

eyes. Clear as goddamn day. Whatever history these two men
have together? It is NOT fucking pretty. A beat. Then --
SA

BLACK
Do you have any idea how badly I
want to kill you?

WHITE
Yes.

Black leans in now. Calm but UNNERVING as he says --

BLACK
One of these days... Sooner or
later... I’m going to find a
loophole, my friend.

(CONTINUED)
 4.
3 CONTINUED: (2) 3

JESUS. And although we have NO FUCKING CLUE what the hell

he’s talking about, this SCARES us. White? Not so much.

WHITE
When you do, I’ll be right here.

Black BLINKS. He’s on the verge of RIPPING White’s head off.

But as he clearly CAN’T, he simply rises. And says --

BLACK
Always nice talking to you, Jacob.

TH
Uh... JACOB?!?!?

Are we meant to understand that this man, this GUY who was
sewing and fishing and eating... that all this time we’ve
been watching fucking JACOB? And now he evenly replies --

O
JACOB
Nice talking to you, too.

And as the Man in Black shakes his head, SCOWLING, knowing

R
that it was the OPPOSITE of fucking nice, he begins to walk
away. But we’re beginning to PULL BACK NOW --

SLOWLY AT FIRST, back over the rocks... but they’re NOT

fucking rocks. No... it appears Jacob has been sitting at
the base of the pedestal of a GIANT STONE FOOT.
Y
PULLING BACK FURTHER NOW, THE OCEAN BELOW US as we WIDEN
OUT... and next to the foot is ANOTHER FOOT. TILTING UP NOW,
M

still CRUISING BACK to see --

The feet are attached to LEGS. THE LEGS to a WAIST. The

waist to a TORSO. The torso to A HEAD. And as we finally
come to a STOP, we see finally see it in all its fucking
M

glory, what we’ve been waiting to see since we first glimpsed

that FOUR-TOED FOOT over three years ago...

THE TOWERING MAJESTIC STATUE OF EGYPTIAN GODDESS TAWERET.

SA

Okay. Why are we clearly A LONG TIME AGO? Why have we

chosen NOW to finally see Jacob? And who in the SWEET FUCK
is that BAD MAN he was talking to?

Well... It’s almost time to close the door on SEASON FIVE,

folks. So let’s FIND THE FUCK OUT.

BOOM.

END OF TEASER
 5.

ACT ONE

4 EXT. AMES CENTRAL GENERAL STORE - DAY - FLASHBACK (1991) 4

CLOSE ON a TOY AIRPLANE in a small hand. WIDEN TO a TEN YEAR-

OLD BOY holding the toy DC 3 and turning it over nervously.
This is TOM. We hear a YOUNG GIRL’S VOICE --

GIRL’S VOICE
Are you gonna do it?

TH
TOM
Uh uh. You do it.

REVEAL -- a cute as a button ten year old BRUNETTE FRECKLED

GIRL with a BACKPACK slung over her shoulder. She wrinkles
her brow, CONVINCING --

O
YOUNG GIRL TOM
C’mon, Tom --
-- No.

The girl sighs.

R
Shakes her head.

YOUNG GIRL
Fine. I’ll do it. But you’re
gonna be lookout. Okay?
Y
TOM
(nods; relieved)
Okay.
M

The girl heads off. Tom follows her into -- AMES CENTRAL
GENERAL STORE. Sitting on a typical suburban IOWA STREET.

5 INT. AMES CENTRAL GENERAL STORE - SAME - FLASHBACK (1991) 5

M

ON A ROW OF LUNCH BOXES. As many clearable ones as we can

get (circa early nineties). The girl scans the shelf. Pulls
off a NEW KIDS ON THE BLOCK lunch box. Looks BACK TO --
SA

TOM. At the end of the aisle. ON LOOK OUT. Still nervously

clutching his plane. He NODS at the girl -- COAST IS CLEAR.
The girl stuffs the lunch box in her backpack. Runs over,
grabs Tom’s hand and pulls him through the store. They hurry
around the corner. Heading out of the shop when --

A HAND GRABS THE GIRL’S ARM. It’s the PROPRIETOR -- MR.

SPRINGER, catching them at the door --

MR. SPRINGER
What’ve you kids got there?

(CONTINUED)
 6.
5 CONTINUED: 5

SHIT. The kids are terrified -- DEER in headlights staring

up at him. Springer leans over Tom, THREATENING --

MR. SPRINGER (CONT’D)

Open your hand, son.

Tom unfurls his fist, revealing the TOY PLANE. Nervous --

TOM
It’s... mine. I didn’t steal it.
My grandpa gave it to me.

TH
Springer turns to the girl now --

MR. SPRINGER
What’s in your bag?

ON THE LITTLE GIRL. And she knows she’s busted, so why

O
fucking fight it. With a resigned strength, she removes the
backpack, opens it up. Springer’s eyes narrow as he reaches
inside, pulls out the BRAND NEW LUNCH BOX, SNEERS at her --

R
MR. SPRINGER (CONT’D)
Your grandpa give you this, too?

The little girl holds his eyes. And although she’s scared,
there’s a quiet DEFIANCE here, too as she points --
Y
LITTLE GIRL
No. I got it right over there.
M

Springer is SURPRISED at the honesty. And now, he REALIZES --

MR. SPRINGER
Hold on... I know you. You’re
Diane Austen’s girl -- what’s your
M

name?

LITTLE GIRL
(a beat; then)
SA

Katie.

Yep. That’s right. This is YOUNG KATE.

MR. SPRINGER
Well Katie, I’m calling your mom.
Then the cops. Because I don’t
tolerate stealing, you understand?

And Springer hauls Kate across the store to the front

counter, reaching for a PHONE, but before he CAN --

(CONTINUED)
 7.
5 CONTINUED: (2) 5

VOICE (O.S.)
I’ll pay for it.

Huh? Springer turns to see a MAN standing there. Jeans.

Button down-shirt. And holy FUCK --

IT’S JACOB. The same man we just saw sitting on an ancient

fucking statue GOD KNOWS WHEN. But here he is. In Iowa.
And there’s something CALMING and POWERFUL in his eyes that
disarms the shopkeeper. He holds out a FOLDED BILL.

TH
JACOB
I hope this is enough?

Springer takes the bill. Sees it’s a TWENTY. He smiles,

then shakes his head...

MR. SPRINGER

O
Well, long as somebody pays for it,
guess there’s no harm done...

And Springer TAKES THE MONEY from Jacob, then turns to Kate.

R
MR. SPRINGER (CONT’D)
But I don’t want to see you in here
ever again without your parents.
You understand me?
Y
Kate nods, sufficiently admonished. Satisfied, Springer
walks back around the counter to put the cash in the register
as Kate now looks up at Jacob --
M

YOUNG KATE
Thanks, mister.

JACOB
M

You’re welcome.
(then; kneeling)
You’re not going to steal anymore,
are you?
SA

Kate looks into his eyes. And his voice is oddly CALMING.
No judgment here. Just a statement of fact. And so, Kate
shakes her head. No. She sure as hell WON’T.

Jacob SMILES, charmed by her. Reaches out, taps her on the

tip of the nose as he rises --

JACOB (CONT’D)
Be good, Katie.

And with that, Jacob turns. EXITS the store. And as we hold
on the little girl, just WATCHING HIM GO, we WHOOOOOOOOSH TO:
 8.

6 INT. SUBMARINE - HOLDING AREA - DAY (1977) 6

ON KATE. HANDCUFFED to the pole. Between SAWYER and JULIET.

Still shocked and confused that she’s ON this fucking
submarine.

CAPTAIN BIRD (V.O.)

Welcome aboard everyone... We’ll
be doing some system checks off
shore here before heading out into
the open ocean and submerging to

TH
our operational running depth...

A7 EXT. OCEAN - DAY - ESTABLISHING A7

We now SEE THE SUBMARINE gliding through the water at a depth

of about 20 meters...

O
B7 INT. SUBMARINE - HOLDING AREA - SAME B7

The THREE OF THEM sit there LISTENING to the ANNOUNCEMENT...

R
CAPTAIN BIRD (V.O.)
You should be in the process of
receiving your sedatives, then
you’ll be escorted to your sleeping
berths.
(beat)
Y
Have a good rest, and we’ll see you
on the other side...
M

Now MITCH, the Dharma guard, appears. GUN on his hip, he’s
got an empty CUP TRAY. With twelve empty cup holding spots.
He’s given out all his juices.

MITCH
M

You three are next. I’ll be back

with your juice in a minute...

He walks out of the room leaving them alone for the first
SA

time. They FINALLY are left alone and Kate turns to Sawyer --

KATE
We have to get out of here.

Sawyer looks over at her, incredulous --

SAWYER
“Out of here”? We’re underwater!
On a submarine! You happen to
notice?!
(shakes his head)

(CONTINUED)
 9.
B7 CONTINUED: B7

SAWYER (CONT’D)
And what the hell are you doing
here? How’d you get caught?

KATE
I was coming back to get you.

Juliet is looking on, watching this BANTER BETWEEN THEM --

which has the decidedly Nick and Nora quality of two people
who might be fighting now but are DEEPLY BONDED.

TH
SAWYER
Coming back to get me for what?

Kate takes a beat, then --

KATE
Faraday’s dead.

O
This LANDS for Sawyer AND for Juliet. Both are deeply
affected by this --

R
JULIET
What... happened to him?

Kate turns to Juliet --

KATE
Y
He was shot. By his mother.

JULIET
M

What?

Sawyer tries to untangle that in his mind, but when he can’t

he simply says --
M

SAWYER
This is exactly why I hate
(fucking) time travel.
SA

Kate shoots him a look as Juliet suddenly REALIZES --

JULIET
Where’s Jack?

ON KATE. And she knows how ridiculous this is going to sound

before the words are even out of her mouth --

KATE
He’s on his way to blow up a
hydrogen bomb.

They both REACT. Did Sawyer hear that right?

(CONTINUED)
 10.
B7 CONTINUED: (2) B7

SAWYER
Why the hell would he want to do
that?

KATE
Does it even matter? We have to
stop him.

Sawyer now looks over at Juliet, who stares back neutrally,

then turns to Kate with his ANSWER --

TH
SAWYER
Sorry, but I’m gonna pass.

Huh? That surprises the shit out of Kate --

KATE
Did you hear me? Jack is going to --

O
SAWYER
-- Yeah, I heard you. But I’m sick
of this crap. You don’t get it,

R
Kate. We were happy in Dharmaville
until y’all showed up. Now that’s
over. So we’re gonna drink our
O.J. and take our chances in the
real world...
(beat)
Y
...And if Jack wants to blow up the
island, then good for Jack.
M

And THAT lands on Kate because it’s NOT at all what she was
prepared for. And OFF KATE’s STARTLED but still DETERMINED
expression, we CUT TO --

7 INT. VAULTED ANCIENT CHAMBER UNDER DHARMAVILLE - DAY 7

M

ON JACK. FOCUSED, eyes narrow... studying the MASSIVE

FUCKING BOMB in front of him.
SA

We TILT DOWN, OFF JUGHEAD, and RACK FOCUS to a DETAILED, hand-

drawn SCHEMATIC of the bomb in the foreground. There are
notes scrawled all over, bullet points -- instructions. POP
WIDE, and realize we’re looking at FARADAY’S JOURNAL. And
Sayid’s holding it, studying the contents.

We notice ELOISE and ALPERT huddled in the background, as

Jack turns to Sayid. And in the spirit of recappery:

(CONTINUED)
 11.
7 CONTINUED: 7

JACK
Is there anything in Faraday’s
journal about how we’re supposed to
move a ten-ton bomb across the
island?

SAYID
Actually, it’s twenty tons.
Fortunately, it seems Faraday never
intended to freight the device in
its entirety.

TH
That gets Eloise’s attention. She approaches with Alpert.

ELOISE
What?

Sayid refers to the diagram --

O
SAYID
He left detailed instructions on
how to remove the plutonium core...

R
and how to detonate it.

Alpert shoots Eloise a wary look, not fucking LIKING this.

Jack ponders this, remembers back to his last moments with
Faraday, when the physicist initially explained his plan.
Y
JACK
Dan told me he needed to wipe out
some kind of pocket of energy...
M

Will just part of the bomb be

enough to do that?

SAYID
The core itself is a thermonuclear
M

weapon, Jack.
(beat; pointed)
It will be more than enough.
SA

Sayid HANDS Jack the journal. And as Jack starts to leaf

through it, Sayid turns to a STEEL FOOTLOCKER, the lid marked
”U.S. ARMY” with a big RADIOACTIVE HAZARD trefoil on it.
Sayid pops the case open, when Alpert places his hand on it.

ALPERT
Hold on.
(gestures to the bomb)
We sealed that thing up twenty
years ago and put it underground,
because it was emitting radiation --
and now you’re going to open it up?

(CONTINUED)
 12.
7 CONTINUED: (2) 7

SAYID
(reassuring)
If we use the equipment the army
left behind in these cases, we
should be able to extract the core
without any long-term damage to --

ALPERT
”Long-term damage”?

Alpert shakes his head, fucking INCREDULOUS. Because this is

TH
fucking insane. Sayid shoots Jack a look, like: is this guy
gonna be a fuckin’ problem? Then, to Eloise, pointed:

ALPERT (CONT’D)
Does this sounds like a good idea
to you, Eloise?

O
ELOISE
(tries to calm him)
Richard --

WHA?
R
ALPERT
-- You’re pregnant.

Jack turns to her, CONCERNED.

ELOISE
This is NEWS to him.
Y
(determined)
And that’s exactly why I have to
help them see this through.
M

And that’s fucking THAT. Sayid takes that as a cue, and

starts SEARCHING the CASES, looking for protective gear. ON
JACK, putting on his doctor hat for a second, sincere:
M

JACK
How far along are you?

ELOISE
SA

Far enough.

Jesus, this is one TOUGH lady, all fucking business now, as

she turns to Sayid:

ELOISE (CONT’D)
Once this ”core” is removed... then
what?

SAYID
We have approximately two hours to
get it to the Swan site.

(CONTINUED)
 13.
7 CONTINUED: (3) 7

ON JACK, WHEELING ON SAYID. OH. FUCK. When was he gonna

drop that little nugget?!

JACK
Two hours?

SAYID
When Faraday returned to the
island, he was very explicit about
his timetable.

TH
And yes, folks, the CLOCK is now officially TICKING. And
Jack? He’s STUNNED. FUCK. Like the fucking degree of
difficulty wasn’t high enough already? All he can say is --

JACK
Well then, we’d better get
(fucking) moving.

O
And OFF JACK, contemplating a dangerous journey to a
dangerous place, we CUT RIGHT FUCKING TO IT --

8
R
EXT. SWAN CONSTRUCTION SITE - DAY

A DHARMA VAN SKIDS TO A STOP.

open and out steps --
The driver’s side door flies

STUART RADZINSKY. A man who looks like he’s gotten very

8
Y
little fucking sleep in the last few days as we DROP BEHIND
HIM TO REVEAL he’s making a fucking BEE-LINE FOR --
M

THE SWAN STATION WORK SITE. A WATER TRUCK. 5 OR 6 DRILL

WORKERS. And at the middle, a large and imposing fucking
HOLE that has a MASSIVE DRILL RIG stationed over it.

Radzinsky DUCKS under the PERIMETER TAPE striding towards the

M

drill rig, BARKING AT THE TOP OF HIS LUNGS --

RADZINSKY
WHO STOPPED THE DAMNED DRILL!?!
SA

And now, TWO WORKERS part like the Red fucking Sea to reveal
a MAN standing at the MAIN CONSOLE who now turns to meet the
irate Radzinsky -- DOCTOR PIERRE CHANG.

CHANG
I did.

Radzinsky walks right up to him, PISSED --

RADZINSKY
Why?

(CONTINUED)
 14.
8 CONTINUED: 8

Chang turns to a PANEL OF GAUGES which illustrate every point

he makes.

CHANG
Because when we passed through
seventy meters, the drill temp went
up sixty degrees and I didn’t want
it to (fucking) melt.

RADZINSKY
Well, Pierre, that’s why we have a

TH
truck full of water. So cool it
down and turn it back on.

ON CHANG. And less we forget, he’s been TOLD about what’s

about to happen here. Told by his own fucking son. Clearly,
he wants to do everything he can to stop this. No longer
imperious, he IMPLORES Radzinsky --

O
CHANG
Stuart... we just evacuated all non-
essential personnel from the

R
island. We’re in the midst of a
possible insurrection.
(pointed)
Do you really think now is the
ideal time for your experiments?
Y
ON RADZINSKY. And the look on his face would seem to
indicate that Chang just called his mother a DIRTY WHORE.
M

RADZINSKY
”Experiments?” I have been working
on this project for six (fucking)
years. Designing a station that
will be able to manipulate
M

electromagnetism in ways we only

dreamed of.
(you fucking idiot)
And you are not stopping me three
SA

(fucking) meters short of success.

Chang shakes his head. Shit. He points to the DISPLAY --

CHANG
And have you thought about the
consequences of drilling into that
pocket? Do you have any idea wh-- ?

RADZINSKY
-- If Edison was only worried about
consequences, we’d all still be
sitting in the (fucking) dark.

(CONTINUED)
 15.
8 CONTINUED: (2) 8

And as Radzinsky leans in, we can see the fucking passion of

a TRUE ZEALOT burning in his eyes --

RADZINSKY (CONT’D)
I came to this island to change the
world, Pierre. That’s exactly what
I intend to do and there’s nothing
you or anyone (fucking) else can do
to stop me.

And now Radzinsky PUSHES past Chang towards the RIG, shouts

TH
to the DRILL OPERATOR AT THE TOP OF HIS FUCKING LUNGS --

RADZINSKY (CONT’D)
LET’S GET IT STARTED!!!!

And as the Operator NODS, TORQUING down a lever which gets

the DRILL WHIRRING BACK TO FUCKING LIFE and drilling down to

O
something that’s gonna be all kinda BAD...

Let’s fucking get it started INDEED.

R
END OF ACT ONE
BOOM.
Y
M
M
SA
 16.

ACT TWO

9 EXT. KOREAN TEMPLE - DAY - FLASHBACK (2000) 9

We’re close on a WEDDING RING. Sunshine glints off of its

ENGRAVED KOREAN CHARACTERS as we hear a FAMILIAR VOICE
speaking KOREAN, subtitled for our benefit...

SUN (O.S.)
I have loved you since the day we
first met.

TH
...And we PULL BACK TO REVEAL SUN, absolutely stunning in her
WEDDING GOWN. Facing her is JIN, in a dashing tuxedo. Both
of their hearts about to burst with fucking HAPPINESS...

Because this is the day of their WEDDING.

O
Jesus, it’s good to see these two together -- though for us
their joy is a little heartbreaking, too, given everything
that’s happened since they exchanged these WEDDING VOWS...

R
SUN (CONT’D)
I loved the man you were then: I
love the man you are today. And
I’ll love the man you will become
as we spend our lives together.
(she puts the RING on his
Y
finger; tenderly)
With this ring, I make my promise.
M

It’s Jin’s turn now, and he’s nervous as hell. With shaking
hands, he reaches into his pocket and takes out Sun’s WEDDING
RING, as well as A SMALL PIECE OF PAPER. WHISPERING to Sun:

JIN
M

I wrote mine down. Is that all

right?

It’s a sweet, intimate moment. Sun smiles and WHISPERS back:

SA

SUN
Yes, it’s all right.

Jin holds up her ring and starts to READ ALOUD from the piece
of paper, formally at first, but with growing CONFIDENCE...

JIN
For our wedding rings, I chose the
inscription, ”We will never be
apart.” Because being apart from
you would be like the sky being
apart from the earth.

(CONTINUED)
 17.
9 CONTINUED: 9

Sun is captivated. Jin meets her eyes, takes her hand --

JIN (CONT’D)
With this ring, I make my promise.

As he puts the ring on her finger, his words come not from
the piece of paper, but straight from the DEPTHS OF HIS SOUL:

JIN (CONT’D)
I swear to you on my life, Sun -- I
will never let anything keep us

TH
apart. I love you.

Both their eyes are welling -- Sun has never been so HAPPY,
and neither has Jin, who KISSES her passionately, adoringly.
As the wedding guests start to applaud O.S., we UPCUT TO:

10 EXT. KOREAN TEMPLE/GARDENS - DAY - LATER - FLASHBACK (2000) 10

O
The wedding ceremony has ended. In another part of the
temple’s gardens, Sun and Jin are now RECEIVING their guests.
Sun is being congratulated by an elderly woman, AUNT SOO.

R
AUNT SOO
I’m so happy for you! So when are
you going to start a family?

SUN
Y
(smiling at Jin)
Who knows? Maybe on our honeymoon.
M

Jin manages an awkward smile in return; Aunt Soo giggles and

MOVES OFF. As she wipes frame, we reveal the next guest in
line. A CAUCASIAN MAN in a nice suit who... Wait. FUCK.

It’s Jacob. Jesus... what the hell is he DOING at Sun and

M

Jin’s goddamned WEDDING? And yeah... there’s a PATTERN

EMERGING here...

...And while our brains try to process what the fuck that
SA

might be, Jacob puts a gentle hand on Sun and Jin’s shoulders
as he addresses them in FLAWLESS KOREAN:

JACOB
I’d like to offer you my blessing.
May you live a long and happy life
together.
(with affectionate warmth)
Your love is a very special thing.
Never take it for granted.

(CONTINUED)
 18.
10 CONTINUED: 10

Jin and Sun both smile, TOUCHED by this as Jacob bows

formally, and leaves. Sun whispers to Jin as the next guest
shuffles up --

SUN
Who was that?

JIN
(shrugs)
I thought he was one of your
father’s business associates.

TH
Sun scrunches her brow, looking for Jacob amongst the crowd,
but wherever he’s gone? He’s GONE. Jin smiles, playful --

JIN (CONT’D)
Well, whoever he was... his Korean
is excellent.

O
And as Sun GIGGLES at her husband, kisses him softly on his
lips... and we realize this is the FIRST AND ONLY TIME we’ve
seen them together this entire season, we WHOOOOOOOOOOSH TO:

11

A VERY DIFFERENT Sun.

R
EXT. BEACH - MORNING (LATE 2007)

That girlish sense of her buried in the serious expression of

11
Y
a WOMAN on a serious fucking MISSION as we WIDEN TO FIND --

She’s in the midst of the MASS EXODUS up the beach. WITH

M

LOCKE and Richard Alpert leading the group of THIRTY OTHERS,

Sun marches along dutifully, her eyes set on SOMEONE --

BEN. And he looks TIRED. A man who has been put through the
fucking WRINGER. Sun falls into step beside him... and just
M

in case we’ve forgotten where all these people are HEADED --

SUN
Who’s Jacob?
SA

Ah. Sun has no concept of how timely that question is

considering the FLASHBACK we just saw. Ben however, didn’t
even realize she was beside him --

BEN
Excuse me?

SUN
Jacob. The man John said we’re
going to see. Who is he?

ON BEN. Okay, how’s he gonna answer this one?

(CONTINUED)
 19.
11 CONTINUED: 11

BEN
He’s in charge of the island.

SUN
You said John was in charge.

BEN
No. I said he’s the leader. A
title I’ve come to learn is
incredibly temporary. But everyone
answers to someone, and the leader

TH
answers to Jacob.
(turns to her now)
And he’s had people answering to
him for a very long time.

ON SUN. She considers this, curious --

O
SUN
What’s he like?

ON BEN. His eyes NARROW. Part of him feels safe talking to

R
Sun, who could give two shits about the history of the
goddamn island. The other part of him is just too exhausted
to keep up the charade any longer. And SO...

BEN
I don’t know, Sun.
Y
(almost... sad?)
I’ve never met him.
M

JESUS. Well. We sorta expected that after Locke guessed as

much... but it’s another thing entirely to hear Ben ADMIT it.
And now he turns to her. A FLASH of that old ANGER in his
eyes as he says --
M

BEN (CONT’D)
Anything else?

But the question is clearly RHETORICAL. And Sun just shakes

SA

her head -- no fucking THANK YOU. And as Ben quickens his

pace, we FLOAT TO THE HEAD OF THE PACK TO FIND --

LOCKE AND ALPERT

Locke walking along the beach with a real spring in his step.
Fucking REJUVENATED... the trail of OTHERS stretching out
behind them. And Locke feels Alpert’s GAZE on him, smiles --

LOCKE
You’ve been staring for the last
ten minutes, Richard. Is there
something you’d like to ask me?

(CONTINUED)
 20.
11 CONTINUED: (2) 11

ON ALPERT. Yes. As a matter of fact, there fucking IS.

ALPERT
Ben told me he strangled you. To
death.

LOCKE
(nods; dry)
That’s my recollection of it, yes.

ALPERT

TH
He said he was sure you were dead.
Saw your coffin loaded onto the
plane you came back on. So what
I’d like to ask you, John...
(beat; then)
Is how are you alive?

O
Locke STOPS walking. Turns to Alpert, almost DISAPPOINTED --

LOCKE
You’ve been on this island much

R
longer than I have, Richard. If
anyone had an explanation for it,
I’d think it would be you.

Beat. ON ALPERT. He STOPS, too -- fucking SERIOUS now.

maybe... just maybe... a little SCARED, too --
And
Y
ALPERT
I have been here a long time, John.
M

And I’ve seen things on this island

that I can barely describe.
(beat; measured)
But I’ve never seen someone come
back to life.
M

ON LOCKE. A beat. Then --

LOCKE
SA

Well, I’ve never seen someone who

doesn’t age. But that doesn’t mean
it can’t happen.

A TWINKLE in Locke’s eye. Is he fucking TEASING Alpert? And

Alpert? He doesn’t fucking LIKE IT. Shows the HARD EDGE
that has kept him in this fucking position all this time --

ALPERT
I’m this way because of Jacob. And
if I had to guess, he’s the reason
you’re not in that coffin anymore.

(CONTINUED)
 21.
11 CONTINUED: (3) 11

Locke turns to Alpert, now conciliatory --

LOCKE
I agree completely, Richard.
That’s why I’m doing this. So I
can thank him.

And we’d be pretty fucking convinced by Locke’s HONESTY, but

unless “thank” is code for “KILL,” we can’t help but wonder
WHAT THE FUCK LOCKE IS UP TO HERE. But he’s on the move
again as he continues --

TH
LOCKE (CONT’D)
And once I’ve done that, we’re
gonna need to deal with the
passengers from the Ajira flight
before they can get themselves into
any trouble.

O
ON ALPERT. Not sure he understands that --

ALPERT

R
What do you mean -- “deal with
them”?

And we are TIGHT ON Locke as he strides right to us.

ENOUGH TO SEE HIS EYES as he calmly answers --
CLOSE
Y
LOCKE
You know what I mean.
M

Fuck. FUCK. And as Locke CLEARS fucking FRAME, HOLDING ON a

very WORRIED LOOKING Alpert as we SMASH CUT TO:

12 EXT. ANOTHER BEACH - DAY 12

M

THE FACE OF FRANK LAPIDUS.

His eyes are closed -- a BRUISE on his forehead indicates

that may be because he was KNOCKED THE FUCK OUT. WE’RE CLOSE
SA

on him as we hear the sounds of PADDLES IN THE WATER. VOICES

NOW, a MAN and a WOMAN --

MAN (O.S.)
I think he’s awake.

WOMAN (O.S.)
He’s not awake. C’mon, help me
pull it up on shore.

We hear a SPLASH now as we begin to get the sense that

Lapidus is IN A BOAT -- HEAR the exerted GRUNTS and sounds of
that boat being pulled up onto the SAND.

(CONTINUED)
 22.
12 CONTINUED: 12

WOMAN (O.S.) (CONT’D)

Hey -- easy with the crate!

And Lapidus’s eyes do CRACK OPEN A BIT NOW as he tilts his

head, and we see that he is indeed inside an OUTRIGGER. He
peers up over the side subtly, HIS POV --

BLURRY AT FIRST, but finding FOCUS as THREE MEN unload a

LARGE ALUMINUM CRATE from the back of the OUTRIGGER. And
right in front of Lapidus, he SEES --

TH
ILANA and BRAM. Our mysterious Ajira passengers. They
unload GEARS and GUNS from the life raft as Bram grumbles --

BRAM
Why did we even bring this yahoo?

ILANA

O
Because we might need him.

BRAM
For what? He didn’t know the

R
answer to the question.

ILANA
That doesn’t mean he’s not
important.
Y
Bram looks at her now, CURIOUS --

BRAM
M

What... you think he’s a candidate?

”Candidate?” HUH? And as Ilana turns towards Lapidus to

ponder that (whatever it fucking means), she REALIZES --
M

ILANA
You were right. He’s awake.

Bram REACTS. Shakes his head as he leans over Lapidus, a

SA

little threatening --

BRAM
How long were you listening to us?

ON LAPIDUS. Shaking off his disorientation as he meets

Bram’s eyes, FEARLESS --

LAPIDUS
Long enough to wonder what the hell
I’m a candidate for.

(CONTINUED)
 23.
12 CONTINUED: (2) 12

Bram turns to Ilana -- now what? But Lapidus is already

getting to his feet, CLIMBS out of the life raft as he asks
the question we’ve wanted the answer to for fucking WEEKS --

LAPIDUS (CONT’D)
Who the hell are you people?

ILANA
(calm; respectful)
We’re friends.

TH
LAPIDUS
Yeah? You hit all your friends in
the face with a rifle? Stuff ’em
into a boat and kidnap them?

Ilana studies him for a beat. And then, a flash of a GRIN --

O
ILANA
No. Only the ones we really like.

Bram smirks. ON LAPIDUS. Doesn’t know what the fuck to make

R
of these people. Not to mention --

THE MYSTERIOUS ALUMINUM CRATE, mounted on long poles that

create a makeshift CARRYING LITTER. Lapidus sizes it up,
turns back to Ilana --
Y
LAPIDUS
What’s in the box?
M

ON ILANA. She looks to Bram. Raises an eyebrow as if to

say, should we show him? Bram just shakes his head --

BRAM
Your call.
M

But Ilana again turns to Lapidus. We can’t help but feel she
LIKES this guy as she answers --
SA

ILANA
Considering what he’s been through,
he deserves to know.

ON LAPIDUS. Surprised by that. And now, Ilana is moving

over to the CRATE -- GIACCHINO starting to play the
anticipation of what’s fucking INSIDE as --

She undoes the METAL LATCHES. PUSHING IN ON Lapidus now as

he steps forward, curious. Ilana now RAISING the lid of the
CRATE but we --

(CONTINUED)
 24.
12 CONTINUED: (3) 12

HOLD ON LAPIDUS’ face as he looks into the box. He BLINKS.

Can’t quite PROCESS what he’s seeing. And why?

Because whatever’s inside IS BLOWING HIS FUCKING MIND.

And while our brains are screaming ”what’s in the box?!,”

we’re just gonna have to be PATIENT. Because all we get for
now is the look on Lapidus’ face -- a mixture of INCREDULITY,
DREAD, FEAR, AMAZEMENT and WORRY as --

He finally looks back up at Ilana. And with the deadpan

TH
summation of his GRIM REVELATION, he softly says --

LAPIDUS
Terrific.

BOOM.

O
END OF ACT TWO

R
Y
M
M
SA
 25.

ACT THREE

13 INT. LIVING ROOM - DAY - FLASHBACK (1981) 13

OPEN TIGHT on a YOUNG BLONDE GIRL no older than ten. She

looks equal parts frightened and confused -- in a word, LOST.

But we WIDEN TO REVEAL they are sitting in the living room of

a house -- a living room where nobody ever sits. The blonde
girl is sitting next to RACHEL, her twelve-year-old brunette
sister.

TH
Seated directly across them are their red-eyed MOTHER and
stoic FATHER, a grizzled, fair-haired man who looks a little
like SAWYER. Mom finally breaks silence --

MOTHER
Girls... Your dad and me have

O
something we need to talk to you
both about.

BLONDE GIRL

R
Are... are we moving again?

RACHEL
No, stupid. They’re getting a
divorce.
Y
MOTHER
Rachel --
M

But Rachel turns to her parents, ANGRY --

RACHEL
-- Well? Aren’t you?
M

The girls’ father nervously fidgets with his WEDDING RING

while his wife does the heavy lifting. Leans forward, takes
Rachel’s hand in hers --
SA

MOTHER
Yes. But you need to understand...
Your father and I... we still love
each other very much --

RACHEL
(pulls her hands away)
Then why are you doing this?

Mom sighs, fights back tears, then looks right at her girls --

(CONTINUED)
 26.
13 CONTINUED: 13

MOTHER
Just because two people love each
other doesn’t always mean they’re
supposed to be together.

And we’re CLOSE ON THE LITTLE BLONDE GIRL now. Catching up

to her older sister, finally understanding what this MEANS.
And she thinks there’s still HOPE --

BLONDE GIRL
But what if you are supposed to be

TH
together?

Mom and Dad exchange a look. Their hearts breaking. Then,

she turns back to her.

MOTHER
We’re not, honey.

O
BLONDE GIRL
But... how can you know for sure?

R
MOTHER
We just know. When you’re a grown-
up... you’ll understand.
(a beat; then)
I’m so sorry, Juliet.
Y
CUE GIACCHINO. That’s right, folks, for those of you haven’t
guessed already, this heartbroken little girl is gonna grow
up to be none other than our own Juliet. And she rises now,
M

sharing her sister’s ANGER as she shouts --

YOUNG JULIET
I don’t want to understand!
M

And with that, a tear-stained Juliet BOLTS down the hall.

Her MOTHER calls out after her --

MOTHER
SA

Juliet, wait...

YOUNG JULIET
I don’t want to understand!

MOTHER
(louder)
JULIET!

And OFF JULIET racing down the hall, crying, her whole world
rocked, we WHOOOOOOOOOOSH TO:

A14 OMITTED A14

 27.

14 INT. SUBMARINE - DAY (1977) 14

JULIET. Still handcuffed and WATCHING Sawyer and Kate debate

their situation -- since they’re not fucking going anywhere.

Kate has obviously just DOWNLOADED the details of Jack’s

plan, and Sawyer is trying to process this --

SAWYER
All right, lemme get this straight...
Jack sets off a nuke, and that

TH
somehow resets everything -- so that
flight 815 never crashes -- it just
lands safe and sound in L.A -- and
none of this ever happens.

Kate just NODS.

O
KATE
That’s pretty much it.

Sawyer shrugs, dismissively --

R
SAWYER
Well. Sounds like the Doc has
officially lost his damn marbles.

Kate is not sure Sawyer is actually GETTING THIS --

Y
KATE
Sawyer. If he does this? He could
M

kill everyone on the island.

SAWYER
Yeah, I heard that part.
M

KATE
And that’s okay with you?
Juliet may not be talking but she sure as shit is LISTENING --
SA

and processing and internalizing every word being said.

SAWYER
You ain’t hearing me! I (fucking)
made my choice and I’m sticking to
it. I decided to leave, and I’m
leaving.

Kate looks semi-furious, but before this conversation can go

any further, Mitch RETURNS, carrying three fresh glasses of
drugged O.J. on his tray.

(CONTINUED)
 28.
14 CONTINUED: 14

MITCH
All right, I got your sedatives.

He senses their SUDDEN SILENCE but misinterprets it.

MITCH (CONT’D)
This isn’t gonna be problem is it?
‘Cause I can go get some help to
make you drink your --

That’s when WHAM-BLAAM! -- OUT OF FUCKING NOWHERE Juliet

TH
KICKS MITCH SQUARE IN THE FUCKING CHEST, sending him SAILING
backwards where -- KATHUNK -- he SMACKS his HEAD into a LOW
HANGING PIPE and drops, UNCONSCIOUS.

Holy shit! Sawyer REACTS, incredulous.

SAWYER

O
The hell you just do?!

Kate, on the other hand, is very pleasantly surprised. And

now Juliet looks at Sawyer, POINTEDLY --

R
JULIET
We decided to leave the island,
James. We. And now we’re going
back.
Y
Juliet calmly reaches out with her free arm, GRABS MITCH’S
PANT LEG and DRAGS HIM CLOSER, until she is able to TAKE THE
PISTOL in his waistband and a KEY CHAIN at his side.
M

SAWYER
You serious?

JULIET
M

We can’t just let all those people

die.

SAWYER
SA

Which people? The Dharma idiots

who just tortured us?

JULIET
No. Jin. Miles. Hurley. Our
people.

And for Juliet, that retort LANDS. ON SAWYER. FUCK. He

can’t just stand by and see his friends all fucking
VAPORIZED.

(CONTINUED)
 29.
14 CONTINUED: (2) 14

Juliet unlocks herself, rubs her wrist, then proceeds to

unlock Kate. And as she does Juliet and Kate MEET EYES. An
uneasy, entangled alliance is being formed here.

Once Kate is free Juliet holds up the KEYS and asks Sawyer --

JULIET (CONT’D)
You want out? Or are you going to
stay here and whine?

Sawyer is disgruntled but accepting of his circumstances.

TH
SAWYER
Unlock the damn cuffs.

And OFF Sawyer’s RESIGNATION, we UPCUT TO --

AA15 EXT. OCEAN - DAY - ESTABLISHING AA15

O
The SUBMARINE gliding along, still only about twenty meters
beneath the surface. And we HEAR --

A15
complete...
R
CAPTAIN BIRD (O.S.)
Galaga to base... System check is

INT. DHARMA SUB/CONTROL ROOM - DAY A15

Y
And as we come in, the PERISCOPE is being LOWERED and the
handles snapped closed for depth running. And now we reveal
the man on the other side of the periscope -- CAPTAIN BIRD,
M

the sub commander. He’s on the RADIO --

CAPTAIN BIRD
(into radio)
...We’re locked on the departure
M

bearing and ready to leave the

island.

VOICE (FROM RADIO)

SA

Roger that, Galaga. Have a safe

trip. See you on the return.

Captain Bird HANGS UP THE MIKE only to HEAR -- CA-CLICK --

the sound of THE HAMMER BEING PULLED BACK ON A HANDGUN.
SHIT. He turns to SEE Juliet holding the gun she took from
Mitch. Beside her are Sawyer and Kate.

JULIET
Give me your gun.

She gestures with hers until Bird COMPLIES -- carefully

lifting his GUN out of his HOLSTER and passing it to Sawyer.

(CONTINUED)
 30.
A15 CONTINUED: A15

SAWYER
Thanks, Capt’n. Appreciate that.
Now we need you to surface the sub.

CAPTAIN BIRD
What? I can’t --

Sawyer puts the gun right up to his fucking neck.

SAWYER
-- Oh, I think you can.

TH
And now Juliet meets the Captain’s EYES.

JULIET
Once we’re gone, you proceed on
your course. Whatever you do, do
not take these people back to the

O
island. Understand?

CAPTAIN BIRD
What if... Horace contacts me?

R
What am I supposed to say?

Now Sawyer turns and -- BLAMMM! -- FIRES a shot that BLOWS

THE RADIO TO PIECES! He’s NOT FUCKING AROUND --

SAWYER
Y
You’re not home.

Suitably convinced, Captain Bird now moves to the SURFACING

M

CONTROLS and as he starts FLIPPING SWITCHES, we UPCUT TO --

15 OMITTED 15
M

16 OMITTED 16

A17 OMITTED A17

17 INT. VAULTED ANCIENT CHAMBER UNDER DHARMAVILLE - DAY 17

SA

PAN SLOWLY across various open army crates, steel cases,

tools, and mechanical parts strewn about, like a mechanic’s
workshop... until we find --

JUGHEAD -- now SPLIT OPEN WIDE. The NOSE CONE has been
removed, set to one side, and we FIND a SWEATY Sayid, wearing
a LEAD APRON and LEAD-LINED GLOVES, digging into the guts of
the H-bomb.

Specifically: he’s SLOWLY, GENTLY REMOVING a LONG METAL

CYLINDER of PLUTONIUM from its housing. It’s roughly three
feet long, thirty-five pounds, a gunmetal grey look to it.

(CONTINUED)
 31.
17 CONTINUED: 17

We ARM AROUND, and see ELOISE, ALPERT, and JACK digging

through the army crates a safe distance away from Sayid’s
workspace. ON JACK, as he digs... there’s an open case of
GRENADES next to him, a couple of HAND GUNS, until finally he
comes up with a large green ARMY RUCKSACK. Hold it up --

JACK
Sayid -- this big enough?

ON SAYID, as he gently sets down one end of the cylinder, the

other still attached to the housing by a ring of WIRES. He

TH
glances over to Jack, eyeballs the rucksack, and nods.

SAYID
That should do.

Sayid grabs a set of WIRE CUTTERS, starts snipping the LEADS

from the end of the cylinder, disconnecting it from the

O
housing. As he does this bit of business --

Alpert pulls out a SLEDGEHAMMER from a crate, admiring it as

he turns to Jack and asks:

R
ALPERT
Can I ask you a question?

Jack gives him a sideways glance. Notices the HAMMER --

Y
JACK
Sure.
M

ALPERT
Over twenty years ago, a man named
John Locke walked right into our
camp and told me that he was going
to be our leader.
M

Jack reacts. Huh. Didn’t know that. Alpert steps forward

now -- PRIVATE -- doesn’t want ELOISE to overhear it --
SA

ALPERT (CONT’D)
I've gone off the island three
times since then to visit this
man... and he never seemed
particularly special to me.

Jack just looks at Alpert. Evenly --

JACK
You said you wanted to ask me a
question.

(CONTINUED)
 32.
17 CONTINUED: (2) 17

ALPERT
Do you know this man? Locke?

ON JACK. Considering this for a moment. Then --

JACK
Yeah, I know him. And if I were
you?
(a beat; convinced)
I wouldn’t give up on him.

TH
JESUS. How far we have FUCKING COME. And although it might
not sink in until later, we might just realize that Jack was
fucking RESPONSIBLE for Alpert embracing Locke when they meet
again, thirty years from now.

SAYID (O.S.)
All right. I’m ready.

O
And the moment is BROKEN as Jack and Alpert both look back
over towards --

R
SAYID. Done disconnecting the cylinder, he lays it on the
ground and wraps it in another LEAD APRON -- like a baby in a
blanket. He then gathers up some tape, wire cutters, and
assorted other supplies.

Jack and Alpert BACK OFF as Sayid carries his precious cargo
Y
over to the rucksack, packs it all in. He then carefully
hoists the rucksack up on his shoulders.
M

SAYID (CONT’D)
Time is short. We’d better get
moving.

ELOISE (O.S.)
M

This way.

We ARM AROUND and see Eloise standing at the mouth of another

tunnel holding a TORCH and her GUN. They join her.
SA

JACK
Where is this gonna take us?

ELOISE
If we’re lucky, into the basement
of one of those Dharma houses.

JACK
And if we’re unlucky?

(CONTINUED)
 33.
17 CONTINUED: (3) 17

ELOISE
We come up in the center of their
town square and find ourselves in a
bloody gunfight.

FUCK. Well. Looks like we’ve got THAT to fucking look

forward to. And as Eloise nods to Alpert, he hoists the
sledgehammer over his shoulder and leads the way, into the
fucking DARKNESS, we SMASH CUT TO:

A18 EXT. OCEAN - LIFE RAFT - DAY A18

TH
Sawyer, Juliet and Kate paddle a life raft away from the
SURFACED SUB LOOMING BEHIND THEM. In the life raft are the
weapons they collected from the sub -- a RIFLE for Sawyer and
a PISTOL for Kate.

Juliet looks back over her shoulders as the sub now SUBMERGES

O
BELOW THE SURFACE.

It’s a moment for her as the sub disappears. That was her
ticket off the island, now gone. Sawyer looks over at her,

R
then out at the island shoreline --

SAWYER
From the looks of the sun, I’d say
that’s the north shore over there.
Y
KATE
Sun’s over there. Looks more like
the west coast to me.
M

SAWYER
Really? You got a compass?

KATE
M

No, do you?

Now Juliet has to step in and referee --

SA

JULIET
Both of you. Shut up and paddle.

And as Kate and Sawyer do just that --

18 EXT. BEACH - DAY - LATER 18

WAVES CRASH as the life raft is STEERED ASHORE. Sawyer, Kate

and Juliet hop out in the waist deep water and pull the raft
up onto the beach.

Kate turns to Juliet now, a QUIET MOMENT --

(CONTINUED)
 34.
18 CONTINUED: 18

KATE
Thanks.

JULIET
For what?

KATE
Backing me up on the sub.

Juliet SMILES, but we can’t help but miss the sadness in her
fucking eyes as she responds --

TH
JULIET
No problem.

Sawyer STRIDES up the beach, looking at the jungle. TURNS

AROUND. Clearly hard to fucking PLACE HIMSELF.

O
SAWYER
All right. I got no (fucking) idea
where the hell we are.

BARK. BARK.
R
What the FUCK? They all TURN to SEE --

A DOG BREAK OUT OF THE TREE LINE, BARKING and running in

their direction. And the dog looks VERY FAMILIAR and as
recognition crosses Sawyer’s SMILING FACE, he calls out --
Y
SAWYER (CONT’D)
Vincent...?
M

That’s right. It’s our favorite stranded canine. Vincent

trots over to the three of them and tongue out, PANTS
happily, BARKS ONCE MORE, very happy to see them --

SAWYER (CONT’D)
M

Whatchya doin’, boy? I ain’t seen

you since the flamin’ arrows three
years ago.
SA

Kate and Juliet join Sawyer as he pets the dog.

JULIET
How’s he been living alone out
here?

FEMALE VOICE (O.S.)

Oh, hell no...

Well, that answers that. Everyone follows the voice and

looks up to the tree line just as --

ROSE steps out onto the beach.

(CONTINUED)
 35.
18 CONTINUED: (2) 18

Everyone’s eyes widen. They, and we, haven’t seen her since
that same arrow attack. She shakes her head at the sight of
the group. Then turns around and yells into the jungle --

ROSE
Hey, Bernard?
(resigned; kinda PISSED?)
They found us.

Kate, Juliet and Sawyer just stand there in SURPRISE as --

TH
BERNARD steps out behind Rose. A scruffy beard. But clearly
HEALTHY. He takes one look at our GANG, favoring Sawyer...
and then, clearly NOT at all happy to be DISCOVERED, he
shakes his head, DEADPANS --

BERNARD
Son of a bitch.

O
BOOM.

R
END OF ACT THREE
Y
M
M
SA
 36.

ACT FOUR

A19 EXT. JUNGLE - DAY A19

THWSH! The BRUSH PARTS as a STICK HACKS THROUGH, REVEALING --

Bernard and Rose as they now lead a fairly confused Sawyer,

Kate and Juliet through the jungle behind them --

SAWYER
Hold on... You’re telling me

TH
you’ve just been living out here in
the damn jungle for the last three
years? By yourselves?

ROSE
Uh huh.

O
SAWYER
Well I’m sorry y’all got left
behind... Didn’t you hear me shout
out to meet at the creek?

R
BERNARD
You mean while flaming arrows were
raining down on us and killing
everyone we knew?
(beat)
Y
Sure we heard you.

Sawyer furrows his brow. Doesn’t quite GET their tone here.
M

SAWYER
Well we spent all sorts of time
looking for you. I had Jin out
searching the island grid by grid
M

and --

ROSE
-- We know.
SA

Okay. That does it. Sawyer, Juliet and Kate all STOP. And
it’s Juliet who asks --

JULIET
You know?

ROSE
Sure. You all joined up with the
Dharma Initiative.
(off Kate)
Well, except you. To be honest, I
had no idea you were back.

(CONTINUED)
 37.
A19 CONTINUED: A19

Sawyer and Juliet exchange a look. HUH?!?

SAWYER
Well, damn... I coulda brought you
both in. Why didn’t you find a way
to tell us you were out here?

Rose just SMILES. Not angry. At PEACE with this --

ROSE
Because we’re retired.

TH
Well. How about fucking THAT. And as Sawyer and Juliet mull
the implications of that, we UPCUT TO:

19 EXT. JUNGLE - CLEARING - DAY 19

A TEAPOT. Perched over a CRACKLING FIRE. Bernard PLUCKS it

O
off as we WIDEN TO FIND HIM --

In a small CAMP. Homey and elaborate in a SWISS FAMILY

ROBINSON way -- this has been Rose and Bernard’s home for the

R
last three years. Kate and Juliet take it all in as Rose
smiles, watching Sawyer pick up a can of DHARMA GREEN BEANS --

ROSE
We’ve been borrowing supplies from
those pallet drops. Hope you don’t
Y
mind.

Sawyer just shakes his head, not really GETTING this --

M

SAWYER
So you’re stealing food and livin’
out here in a hut by yourselves.
M

BERNARD
People work their whole lives to
try and get themselves a nice quiet
place by the ocean where they can
SA

live in peace.
(beat; shrugs)
So we did it. That’s what we’ve
made for ourselves.

Sawyer steps forward, SERIOUS NOW --

SAWYER
Well, I hate to rain on the Boca
Del Vista parade, but your condo is
about to go ka-blooey.

(CONTINUED)
 38.
19 CONTINUED: 19

Bernard and Rose exchange a LOOK, not worried. Kate steps

forward now, SERIOUS --

KATE
Jack has a bomb. He’s trying to --

ROSE
-- Who cares?

KATE
(huh?)

TH
...Excuse me?

Rose steps forward. A little EDGE now, shakes her head --

ROSE
It’s always something with you
people. Babies getting kidnapped,

O
hiking to radio towers... So now
Jack’s got a bomb. And what? You
all are off to stop him, right?

ON KATE. Fuck.

Yeah.
R
Pretty crazy that Rose just NAILED it.

KATE

Rose looks to Bernard again. Shoulda FIGURED --

Y
ROSE
We travel back in time thirty
M

years, and you’re still trying to

find a way to shoot each other.

And now it’s Juliet’s turn to speak, even though part of her
is clearly AFFECTED by Rose’s words --
M

JULIET
Rose. We just need you to tell us
which way the Dharma barracks are
SA

from here.
(then; serious)
If we don’t stop Jack, you’re going
to be dead. We all are.

And that statement is not without fucking GRAVITY.

Regardless, Bernard steps forward. HOLDS Rose’s hand, not
scared at all and completely backing the woman he loves as --

BERNARD
So we die. The only thing we care
about is being together. That’s
all that matters in the end.

(CONTINUED)
 39.
19 CONTINUED: (2) 19

Juliet turns to Sawyer... expecting to make eye contact with

him on this front...

But he’s ACTUALLY LOOKING AT KATE. It’s only for a second

(and Kate’s not even fucking aware of it) -- but it’s THERE.
And now, he DOES turn to match eyes with Juliet just as --

The teapot WHISTLES. The moment broken. Rose just points --

ROSE
Barracks are five miles that way.

TH
SAWYER
Thanks.
(turns to the women)
Let’s go.

And with that, Sawyer TAKES OFF -- OVER this. After a beat,

O
Kate FOLLOWS. Juliet watches then turns back to Rose and
Bernard. An idyllic picture of LOVE. Something that she HAD
with Sawyer. Bernard reads her hesitation --

R
BERNARD
Sure you don’t want some tea?

JULIET
(wishes she could)
Maybe another time.
Y
And as Juliet heads off, we HOLD ON Rose and Bernard for a
few beats. And then, he turns to her, clearly TEASING --
M

BERNARD
Almost makes you miss it, huh?

ROSE
M

No. Not at (fucking) all.

And off that sentiment, we SMASH CUT TO:

SA

20 INT. TUNNELS UNDER DHARMAVILLE - DAY 20

And we return to our underground trekkers, Jack and Sayid

following Alpert and Eloise THROUGH THE TUNNELS. They come
to a fork in the tunnels, and Alpert leads them to the left
and up the tunnel to where the TUNNEL WIDENS AND ENDS IN A
ROCK WALL.

Jack turns to Sayid and gestures to the BOMB CYLINDER riding

out of the top of Sayid’s pack --

(CONTINUED)
 40.
20 CONTINUED: 20

JACK
Do we have to worry about that
thing going off?

Sayid looks at Jack, shakes NO -- then says DRYLY:

SAYID
It’s perfectly safe. Unless, of
course, it gets shot.

Jack gives him a small smile. Ahead of them Alpert carefully

TH
runs his hands across the CARVINGS ON THE WALL until he’s
satisfied that he’s FOUND THE RIGHT SPOT, then --

ALPERT
Stand back.

He hefts the heavy the SLEDGE HAMMER, SWINGS IT BACK AND

O
CRAAASHHH --

21 INT. DHARMA HOUSE - BASEMENT - DAY 21

R
The basement wall of a Dharma house BURSTS OPEN in a HALO OF
DRYWALL and BRICKS. MORE BRICKS FALL AWAY with each swing of
a SLEDGE HAMMER -- and pretty soon there’s a HOLE that
Alpert, Jack, Eloise and Sayid can step through and into the
basement. It’s empty... But across the room they SEE --
Y
A STAIRCASE leading UPSTAIRS.

JACK
M

I’ll go first.

But Eloise STEPS IN FRONT of him --

ELOISE
M

Don’t misunderstand who’s in charge

here... I’ll go first. Because if
there’s someone in this house who’s
a threat?
SA

ON ELOISE -- with a HARD COLD STARE, she RACKS THE SLIDE on

her gun.

ELOISE (CONT’D)
You might hesitate but I won’t.

Yeah. This fucking chick is LEADER OF THE OTHERS for good

reason. Alpert steps up behind her --

ALPERT
All right, Eloise. After you.

(CONTINUED)
 41.
21 CONTINUED: 21

Eloise starts moving up the stairs, ALL BUSINESS --

ELOISE
Once we give you the ”all clear,”
then you come up with the bomb. We
don’t want any acci--

WHAM! It happens so fucking fast, we barely REGISTER IT...

But Alpert fucking brings the handle of his handgun swinging
down onto Eloise’s head!!!!

TH
She FALLS backwards into Alpert’s arms, OUT FUCKING COLD.
Jack and Sayid REACT -- SHIT!!! --

JACK
What the hell are you -- ?!?

But Alpert has already laid Eloise down at the base of the

O
stairs, turns his fucking gun on OUR GUYS --

ALPERT
-- I’m protecting our leader.

ON JACK. ON SAYID. R
Uh-fucking-OH.

ALPERT (CONT’D)
But Alpert is CALM --

She’s going to be angry when she

wakes up... but that’s a lot better
Y
than being dead.
(beat; pointed)
I can’t let her risk going any
M

further with you.

Jack shakes his head --

JACK
M

You don’t underst--

ALPERT
-- I don’t want to understand.
SA

Eloise ordered me to help you, so

we helped you. But now you’re on
your own.
(beat; then)
We’re going back out the way we
came in.

Alpert LOWERS the gun now. Gives Jack a COLD look as --

ALPERT (CONT’D)
And Jack? For both our sakes?
(beat; hard)
(MORE)

(CONTINUED)
 42.
21 CONTINUED: (2) 21
ALPERT (CONT’D)
I hope we never see each other
again.

And with that, Alpert leans over, PICKS UP Eloise. And he

walks off, leaving Jack and Sayid ALONE. They stand there
for a beat, Alpert’s words ringing in their ears. And then,
Sayid gestures to the stairs, DARKLY --

SAYID
After you.

TH
ON JACK. A little... SCARED? But then, he shakes it off...
and starts to climb the STAIRS as we CUT TO:

22 INT. DHARMA HOUSE - MAIN PART - CONTINUOUS 22

Jack and Sayid enter into the hallway of a DHARMA HOUSE.

TENSE as our men walk through the house into --

O
A23 OMITTED A23

B23 INT. DHARMA HOUSE - MAIN PART - CONTINUOUS B23

R
Jack and Sayid are drawn to the WINDOWS where they SEE --

A COMMOTION OUTSIDE. LOTS OF DHARMA PEOPLE -- ARMED --

hustling around town as ANNOUNCEMENTS play over the town PA:
Y
P.A. ANNOUNCEMENT (V.O.)
All residents, we are in a CODE
GREY -- report with your weapons to
M

your security assignments

immediately! If you come into
contact with a hostile, or any of
the suspected recruits, you are
authorized to use deadly force.
M

Jack and Sayid exchange a look. FUCK.

JACK
SA

How the hell do we get out of here?

Sayid RUMINATES on a plan, then says --

SAYID
We hide in plain sight.

JACK
Meaning what?

Sayid turns from the window and grabs one of Horace’s Dharma
JUMPSUITS OFF a hook by the front door. (NOTE: Jack is
already wearing HIS Dharma jumpsuit.)

(CONTINUED)
 43.
B23 CONTINUED: B23

SAYID
The last thing they expect is for
us to be amongst them. We walk
right down Main Street and hope to
blend in until we reach the jungle.

Jack’s mental wheels turn as he processes this.

SAYID (CONT’D)
There’s over twenty men out there
with guns, Jack. Shooting our way

TH
out is not an option.
(then)
Let’s go.

And WE CUT TO:

23 EXT. AMY’S HOUSE - DHARMAVILLE - DAY 23

O
The front door of Amy’s house opens and Jack and Sayid walk
out onto the street. Feeling more EXPOSED than they are.

R
Sayid has his hair up under a hat and now wears Horace’s
Dharma jumpsuit. They both carry rucksacks and like almost
all the other Dharma residents out and about they carry guns.
A cloth covers the part of the BOMB CYLINDER that sticks up
out of Sayid’s pack...
Y
Keeping their eyes cast down they WALK BY Dharma RESIDENTS,
the TENSION OF DISCOVERY hanging thick over every step they
take.
M

But it seems to be working. No one pays any special

attention to them.

As they make it to the last row of houses -- look up and see

M

PHIL WITH A GROUP OF DHARMA MEN gathering -- a security team --

ALL ARMED -- making security plans right in front of them.
Phil seems preoccupied, but nevertheless they know all he has
to do is LOOK UP.
SA

And Jack and Sayid have got no choice but to WALK RIGHT PAST
HIM and his team. The TENSION BUILDS and GIACCHINO PLAYS...
But Jack and Sayid succeed in PASSING RIGHT ON BY them
without Phil or anyone else noticing.

They breath a sigh of relief because right ahead is the edge

of the JUNGLE. It is tantalizingly close when they HEAR --

ROGER (O.S.)
Hey...! HEY!

CLOSE ON SAYID AND JACK. FUCK. They turn to SEE --

(CONTINUED)
 44.
23 CONTINUED: 23

ROGER LINUS. Pointing a gun at them. His EYES GO WIDE as he

gets confirmation that this is Sayid and Jack --

ROGER (CONT’D)
(JESUS!)
You! You’re the bastard who shot
my kid!

Sayid gestures to the cloth-wrapped CORE sticking up out of

his rucksack.

TH
SAYID
Listen to me, do not fire your
weapon! I’m carrying a nuclear
device. If a bullet hits it, there
will be --

KA-BANG! -- and HOLY FUCKING SHIT -- Roger shoots Sayid right

O
in the STOMACH.

FUCK!! FUCK!! FUCK!! Sayid crumples to the ground.

R
Jack RETURNS FIRE, sending Roger scattering for cover. Jack
looks around, SEES the SECURITY TEAM MEN (Phil is NOT with
them) spotting them and running their way and raising their
GUNS.

Jack realizes that he doesn’t have much time. He quickly

Y
reaches into his rucksack and grabs one of the GRENADES he
took from the bomb room and he FUCKING HEAVES IT --
M

It flies, bounces across the ground and -- KA-BLAAAAAAAAAM!

EXPLODES IN A BALL OF DIRT AND FIRE -- TAKING OUT the lead
men and --

Giving Jack time to hoist Sayid to his feet and SHOULDER HIM,
M

like in an Old West shoot-out...

As they stumble for the jungle, Jack TRADES FIRE with two
other DHARMA GOONS approaching and FIRING at them from behind
SA

buildings.

Jack and Sayid DESPERATELY TRY TO MAKE IT TO THE JUNGLE, but

we can see the expression on Jack’s face -- then what?
Because obviously he can’t outrun the Dharma men with an
injured Sayid.

That’s when they hear the REVVING WHINE OF A MOTOR and Jack
TURNS TO SEE --

24 A DHARMA VAN SPEEDING TOWARD HIM 24

 45.

Fucking BARRELING DOWN ON THEM!

Jack raises his gun but HOLDS OFF SHOOTING -- because as the
VAN SKIDS TO AN ARCING STOP -- we SEE that THE DRIVER IS
FUCKING HURLEY!

HURLEY
GET IN!!

The SIDE DOOR SLIDES OPEN and JIN and MILES are there! They
help Jack and Sayid inside. Before they are even settled,

TH
Hurley FLOORS IT and RACES OFF! THEY SLAM THE DOOR CLOSED ON
THE MOVE...

AND BULLETS PLING OFF THE VAN...

BUT THE DHARMA VAN MAKES ITS GETAWAY!

O
A25 INT. DHARMA VAN - DRIVING - SAME A25

And as they speed away, Miles looks over at Sayid and his
rucksack -- the cloth now having slipped off the top --

R
revealing the WIRED UP CYLINDER.

MILES
Is that a bomb?!

And we are SUPER FUCKING CLOSE on Jack as he SHOUTS --

Y
JACK
Just drive!
M

And as the GIACCHINO RAMPS, the Dharma van SPEEDS AWAY

leaving DHARMAVILLE behind...

BOOM.
M

END OF ACT FOUR

SA
 46.

ACT FIVE

25 INT. OPERATING ROOM - DAY - FLASHBACK (1992) 25

CLOSE ON A TRAY OF SURGICAL INSTRUMENTS. Stainless steel.

Scary. HOLDING ON THEM as --

A SLIGHTLY TREMBLING HAND reaches in. Barely register the

blood on the surgical glove as it picks up what looks like an
incredibly SHARP SCALPEL. FOLLOWING THE HAND NOW...

TH
And just as we get the slightest GLIMPSE of something that
would freak us fucking out (like an EXPOSED SPINE), WE FLOAT
UP TO FIND --

JACK. Young. An instant sense that he has not yet gained

the CONFIDENCE that will come to identify him later as he
blinks the sweat out of his eyes, clearly in the midst of an

O
INTENSE FUCKING PROCEDURE. We can fucking HEAR him breathing
through his mask. ”Calm” is not the word that comes to mind.
The ANESTHESIOLOGIST clocks him, CONCERNED --

R
ANESTHESIOLOGIST
Dr. Shephard? You all right?

JACK
Yeah... I’m fine.
Y
But he isn’t fucking fine. And that’s slightly terrifying
considering what he’s doing right now. PUSHING IN ON HIM,
the sound of his BREATHING filling our ears as his hands
M

begin to move below frame...

And Jesus... how can he SEE anything with all that blinking?
SHOTS of the DOCTORS and NURSES who surround the PATIENT,
clearly fucking WORRIED as we come back to Jack. Pushing
M

closer.... CLOSER... and --

Jack STOPS breathing. His eyes WIDEN. He fucking FREEZES.

And a barely audible whisper escapes his lips --
SA

JACK (CONT’D)
...No.

Jack’s eyes flick off his work... up and across the table.
Clearly talking to SOMEONE as he says, TERRIFIED --

JACK (CONT’D)
The dural sac... I... I...
(fuckshitfuckshitfuck)
I cut it.

(CONTINUED)
 47.
25 CONTINUED: 25

And it’s like a fucking ELECTRIC SHOCK goes through the room.
We’re not doctors. But we know just from looking at their
faces that Jack has just made a MAJOR FUCKING FUCK-UP.

And one by one, the Nurses and Doctors all turn towards the
MAN standing across the patient from Jack. A DOCTOR WITH
STEELY BLUE EYES, who softly intones --

DOCTOR
Calm down. It’s all right.

TH
JACK
(freaking out)
No... the fluid... the fluid is
leaking... I cut --

DOCTOR
-- Jack. Look at me.

O
And JESUS -- that VOICE sounded fucking FAMILIAR. And as
Jack looks up at him, we finally recognize --

R
CHRISTIAN SHEPHARD. And despite the fact that his son is
performing this surgery, he’s clearly the fucking POWER in
this room. Cool as a fucking cucumber as he says --

CHRISTIAN
Count to five.
Y
JACK
...What?
M

CHRISTIAN
Close your eyes. Count to five.

Jack looks at him like he’s speaking goddamn CHINESE --

M

JACK
Count to...? What are you...
talking about?
SA

Any of this sounding familiar? Like maybe Jack told this

story to Kate way back in the PILOT? And yet, for some
reason, there was no mention of his FATHER being there.
Christian looks at him now, EVENLY --

CHRISTIAN
I’m talking about you stitching up
that sac so this girl isn’t
paralyzed for the rest of her life.
And the only way you’re going to do
that is if you’re not afraid...

(CONTINUED)
 48.
25 CONTINUED: (2) 25

Jack reacts. Almost like he’s just been SLAPPED. Feels the
eyes of the doctors and nurses on him. And suddenly, he’s a
KID again. A KID being told he doesn’t have what it takes.
And his father isn’t done, HARD now --

CHRISTIAN (CONT’D)
...So close your eyes. Count to
five. And then fix her, Jack.
(a beat; then)
Or I’ll have to fix her for you.

TH
ON JACK. Glaring at his father. So. Fucking. ANGRY. And
we’re not entirely sure he’s not just gonna LEAP ACROSS THAT
TABLE AND STRANGLE HIM...

But Jack closes his eyes instead. And we’re PUSHING IN ON

HIM AGAIN as he begins to count. SLOWLY. Each number more a
FUCK YOU than a MEDITATION...

O
JACK
One. Two. Three. Four.

R
And now, his eyes OPEN AGAIN. And they are LASERED in on
Christian. Absolutely BURNING as he softly says --

Five.
JACK (CONT’D)
Y
And without hesitation, Jack’s eyes drop back down to his
work, completely back in fucking COMMAND as he says --
M

JACK (CONT’D)
Sutures, please.

And as Jack begins the painstaking process of FIXING HIS

FUCKING MISTAKE, we SMASH CUT TO:
M

UPCUT TO:

26 INT. HOSPITAL BREAK ROOM - DAY - FLASHBACK (1992) 26

SA

CLOSE ON A QUARTER as it slips into the slot of a VENDING

MACHINE. CHILINK! Another quarter. CHILINK! Now a finger
presses a BUTTON and we’re CLOSE ON --

VRRRRRRRRRRR. THE COIL SLOWLY ROTATING as a CHOCOLATE BAR

works its way towards being dropped... but the coil abruptly
STOPS. The bar never makes it out. And now the machine
SHAKES slightly as we WIDEN TO FIND --

Jack standing in front of it. Still in his SCRUBS. Face

impassive as he SHAKES the vending machine again --

(CONTINUED)
 49.
26 CONTINUED: 26

JACK
Come on...

But the chocolate doesn’t budge. And now Jack is starting to

get fucking FRUSTRATED (or was he already?) as he BANGS the
side of the machine with his CLENCHED FIST --

JACK (CONT’D)
Come ON.

And just before he REALLY fucking goes to town on it --

TH
CHRISTIAN (O.S.)
Hey, kiddo.

Jack STOPS, turns to see Christian entering, also in scrubs.

Wanders over to the COFFEE MACHINE, feeds it some coins as --

O
CHRISTIAN (CONT’D)
The girl’s in recovery. She’s
responsive to stimulus below the
waist -- no paralysis.

JACK R
(a beat; then)
Good.

Christian looks at his son. Hears the same thing in his tone
Y
that we do. ANGER. Turns to him --

CHRISTIAN
M

Something wrong, Jack?

Jack just shakes his head. Why fucking HIDE it --

JACK
M

You embarrassed me.

CHRISTIAN
(evenly)
SA

Did I?

JACK
It’s bad enough that everyone in
this hospital thinks the only
reason I pulled this residency is
because you’re my father, but then
you give me a (fucking)... time out
during my first major procedure?
In front of my entire team?
Jack steps forward now -- we can hear the PAIN in his voice --

(CONTINUED)
 50.
26 CONTINUED: (2) 26

JACK (CONT’D)
I know you don’t believe in me,
dad... but I need them to.

And Shephard just looks at him now. A sense of PITY matched

with a tacit CONDESCENSION --

CHRISTIAN
Are you sure I’m the one who
doesn’t believe in you, Jack?

TH
Fuck. And Christian ain’t sticking around to have the
question answered. It was fucking RHETORICAL. He takes his
coffee out of the machine and walks out.

HOLDING ON Jack as his father’s words land on him. That’s

TWICE today the old man put him in his fucking place. The
moment is interrupted as --

O
VRRRRRRRRRRR. CLUNKCLUNK! AN OUT OF FOCUS FIGURE standing
behind Jack bends over to retrieve something from the VENDING
MACHINE. Jack turns around as we RACK TO REVEAL --

JACOB. R
And even though we’re starting to get used to this, it’s
still pretty fucking impactful to see him standing here in
the same room with Jack. He holds up TWO CHOCOLATE BARS --
Y
JACOB
One of these yours?
M

JACK
Yeah... the machine jammed.

Jacob smiles now, offers one of the bars to Jack --

M

JACOB
Guess it just needed a little push.
SA

And we can’t help but ponder the potentially massive

significance of those words as Jack takes the chocolate their
fingers touching slightly in the exchange --

And with that, Jacob exits. HOLD ON Jack, oblivious to the

fact that he’s just had a brush with his fucking DESTINY, he
RIPS OPEN THE wrapper of the bar as we WHOOOOOOOOOOOOOOSH TO:

27 INT. DHARMA VAN - DRIVING - DAY (1977) 27

JACK. Doing every fucking thing he can to STOP SAYID’S

GODDAMN STOMACH FROM OPENING UP. Sayid GROANS in pain --

(CONTINUED)
 51.
27 CONTINUED: 27

JACK
Try not to move. I need to stop
the bleeding...

And this is all pure unadulterated fucking CHAOS AS --

The van they’re inside BUMPS AND SHAKES. Jack works in the
back seat, full on DOCTOR’S MODE -- putting PRESSURE on
Sayid’s WOUND as Hurley shouts from behind the wheel --

HURLEY

TH
What’s going on back there? Is
Sayid okay?

Miles shouts at him from beside Jack --

MILES
Does he look okay?!? Keep your

O
eyes on the damn road!

HURLEY MILES
Should I pull over...?

But I don’t even know where

we’re going!
R
Jack SHOUTS OVER THE BICKERING --
-- Yeah, let’s pull over and
get shot! Just drive --
Y
JACK
The Swan. Head for the Swan.
M

HURLEY
(confused)
Uh... why are we going there?
Sayid’s shot, shouldn’t we -- ?
M

JACK
If you want to save Sayid, just get
us to the Swan, Hurley.
SA

Hurley hears the tone in Jack’s voice... looks up at the

REARVIEW...

A moment of EYE CONTACT as Jack’s seemingly plead with

Hurley’s to just fucking TRUST HIM. And so, Hurley LAYS ON
THE GAS --

HURLEY
The Swan it is.

ON JIN as Jack checks Sayid’s wound -- and JESUS -- it’s NOT

GOOD. LOTS OF BLOOD. He looks at Jack, CONCERNED --

(CONTINUED)
 52.
27 CONTINUED: (2) 27

JIN
Jack. What’s at the Swan?

ON JACK. And we can see it in his eyes -- despite the FEAR

and CONCERN and the INSANITY of all this, he has still
somehow found a way to retain his FAITH.

JACK
I think I found a way to get you
back to your wife.

TH
And as Jin REACTS... that was pretty much the LAST answer he
expected to come out of Jack’s mouth. And even though he has
no fucking clue what the hell is GOING ON here, HOPE glimmers
in Jin’s eyes as we WHOOOOOOOOOOOOOOOOOSH TO:

28 EXT. BEACH - DAY (LATE 2007) 28

O
SUN.

MOVING UP through the crowd of Others still walking along the

beach. Her eyes focused on --

R
ALPERT. He’s up at the head of the pack by himself. And
although she’s been intimidated by this man up until now, Sun
is starting to find her fucking COURAGE again --

SUN
Y
Excuse me -- Richard?

Alpert turns, sees her. She STOPS now, SERIOUS --

M

SUN (CONT’D)
My name is Sun Kwon. I have a
three year-old daughter waiting at
home for me who has never met her
M

father. His name is Jin. And

yesterday...
(beat; then)
You told me that thirty years ago
SA

you saw him die.

WE SEE SOMETHING in his eyes -- perhaps it’s PITY...

ALPERT
I’m not sure what I saw.

She studies him. Then she shakes her head. HARD --

SUN
Please don’t insult me by trying to
spare my feelings. I have a right
to know the (fucking) truth.

(CONTINUED)
 53.
28 CONTINUED: 28

A BEAT. ON ALPERT. And much to our surprise? He TALKS --

ALPERT
One of the men in the picture you
showed me -- his name’s Jack
Shephard. And back in 1977, he had
a very powerful bomb with him.

ON SUN. Jesus Fucking Christ. Alpert continues --

ALPERT (CONT’D)

TH
I only know two things for sure.
The first is that he was determined
to set that bomb off.
(beat; then)
The second is that he did.

Shit. ON SUN. Trying to make sense of all this...

O
SUN
How... how can you be sure?

R
ALPERT
I saw the explosion. And when we
went back to the site later, it was
just... ashes. No one could have
survived. If your husband was
anywhere near Shephard when he set
Y
off that device...
(then; with sympathy)
I’m sorry, Sun.
M

And considering we just SAW Jin right fucking NEXT to Jack?

That does not bode well at ALL.

ON SUN. And this story has hit her like a fucking PUNCH to
M

the gut. Jesus Christ... she’s already mourned her husband

once. She shakes her head, trying to put all this together --
SUN
SA

But... John said that he knew a way

to bring us back together.

Alpert sees her PAIN, wants to help --

ALPERT
Maybe he can.

And now Sun looks to Alpert. Clinging on to the DOGGED

OPTIMISM that has gotten her this fucking far --

(CONTINUED)
 54.
28 CONTINUED: (2) 28

SUN
It wouldn’t be the first explosion
my husband survived.

And with that (perhaps because she doesn’t want him to see
her fucking CRY), Sun STRIDES back off, joining the march.

And as we HOLD ON Alpert, he admiration for her mitigated by

the ever increasing sense of WORRY, WE FLOAT BACK TO...

LOCKE AND BEN

TH
Ben walks quietly. Bringing up the rear of the PACK. His
mood contemplative. Locke walks alongside him, breaking the
silence with --

LOCKE
Why haven’t you told him?

O
BEN
Tell who, what?

R
LOCKE
Richard. Why haven’t you told him
about my plans for Jacob?

And Ben is very RESIGNED to all this. Not emotional. Almost

like a man being FORCED to play out a role he despises --
Y
BEN
If by “plans” you mean murdering
M

him, I assume you wanted me to keep

that a secret, John.

LOCKE
(smiles)
M

That’s never stopped you before.

ON BEN. Not amused by this in the slightest. And then --

SA

BEN
Well, I started looking at things
differently when my dead daughter
threatened to destroy me if I
didn’t do everything you said.

ON LOCKE. Fucking interesting. He STOPS WALKING, curious --

LOCKE
And where was this?

(CONTINUED)
 55.
28 CONTINUED: (3) 28

BEN
In the cavern below the Temple.
When we went to see the monster.

Locke PROCESSES that for a moment. And then --

LOCKE
So you’re willing to do whatever I
say? No matter what it is.

ON BEN. His eyes meets Locke’s. That old FLASH OF ANGER --

TH
BEN
(fuck you, fuckhead)
Yes.

And now Locke smiles. The smile of a man who’s just had the
world delivered to him on a SILVER FUCKING PLATTER.

O
LOCKE
Well then, I suppose I won’t have
to convince you after all.

ON LOCKE. CLOSE.
BEN
(confused)
R
Convince me... to do what?

HARD. And BRUTAL --

Y
LOCKE
I’m not going to kill Jacob, Ben...
M

(beat)
You are.

BOOM.
M

END OF ACT FIVE

SA
 56.

ACT SIX

We start on a very ICONIC LOST IMAGE -- the CLOSED EYE. But

this one’s DIFFERENT. There are traces of GAUZE surrounding
it. Suddenly, it POPS OPEN and we PULL BACK, REVEALING --

101 INT. RUSSIAN HOSPITAL - DAY - FLASHBACK 101

A HEAVILY BANDAGED, UNRECOGNIZABLE FACE. Beside the one EYE,

only the MOUTH is visible. While the rest of the body is
hidden under a BLANKET pulled up to their chest.

TH
The bandaged patient turns her head out to the LARGE OPEN
INFIRMARY -- which houses about TEN OTHER WOMEN in an OPEN
WARD on RUSTED COTS. This place had seen better days twenty
years ago. CRUMBLING WALLS. OPAQUE WINDOWS. WATER STAINS
seeping down from the floor above.

O
A NURSE ENTERS, carrying a TRAY OF FOOD past all the PATIENTS
in their beds. She walks down the line to this bandaged
patient. Sets the tray down and picks up a CUP with a STRAW
in it. And asks in RUSSIAN --

R
RUSSIAN NURSE
How are you feeling? Are you
thirsty?

The bandaged patient is barely able to WHISPER A RESPONSE.

Y
But it’s enough for the Nurse to understand. She carefully
puts the straw in the patient’s mouth so she can drink.
M

The patient takes a couple of PAINFUL SIPS then stops. The

Nurse and her have obviously developed enough of a rapport
for her to set the cup down. Now the Nurse says --

RUSSIAN NURSE (CONT’D)

M

There’s someone here to see you.

Even with only one exposed eye we can read her CAUTION and
DISTRUST.
SA

RUSSIAN NURSE (CONT’D)

I explained your condition, but he
insisted on seeing you anyway.
(then; caring)
You’ve had no visitors. It will be
good for you.

The Patient finally NODS, OKAY. The Nurse SMILES and gets
up, signals to someone we can’t quite see in the doorway.

(CONTINUED)
 57.
101 CONTINUED: 101

As the Nurse EXITS, we follow the VISITOR from the back as he

walks down the room to our patient. He is a middle-aged man
wearing a WINTER COAT, dangling scarf and gloves.

As he gets to the bedside he carefully REMOVES HIS GLOVES and

SITS INTO A CHAIR where we finally reveal that the man is --

JACOB. He turns to her and speaks in FLAWLESS RUSSIAN --

JACOB
I’m sorry I couldn’t make it

TH
sooner.

And he is WARM and CARING and incredibly COMFORTING. And

tough as this women is, we see how happy she is to see him --
and sense her LONGING FOR ANY KIND OF COMPANIONSHIP in this
shithole. LABORING, she answers in WHISPERED RASPY RUSSIAN --

O
PATIENT
I’m very happy to see you...

But now Jacob’s expression GROWS MORE SOMBER. And is if to

R
magnify the seriousness of his words, he SWITCHES TO ENGLISH.

JACOB
I’m here because I need your help.

She takes this in with profound seriousness and maybe even a

Y
little fear. And now Jacob reaches down and touches her on
the shoulder --
M

JACOB (CONT’D)
Can you do that? Will you help me,
Ilana?

HOLY SHIT. The bandaged patient is Ilana? YES, INDEED IT

M

IS. And what now moves across her face is COURAGE. And her
SHINING EYE meets his as she musters her strength to WHISPER
JUST ONE WORD --
SA

ILANA
Yes...

Jacob smiles, pleased and relieved. And OFF ILANA’S

DETERMINED EXPRESSION, we WHOOOOOSH to --

102 EXT. JUNGLE - DAY (LATE 2007) 102

ON ILANA, quiet, steadfast, and all business as she leads

this TREK.

(CONTINUED)
 58.
102 CONTINUED: 102

We drift behind her, find the FOUR MEN carrying the litter --
including BRAM, with LAPIDUS hiking alongside him. And Frank
is still looking a little fucking SHELL-SHOCKED --

LAPIDUS
I wish you’d never showed me what
was in that damn box.

BRAM
Try not to think about it.

TH
LAPIDUS
Try not to think about it?
(shakes his head; as if
that were even possible)
What the hell are you gonna do with
it, anyway?

O
BRAM
We need to show it to somebody.

LAPIDUS
What for?

BRAM
R
So they’ll know what they’re up
against.
Y
LAPIDUS
And what are they ”up against”?
M

Bram looks at him. SERIOUS now --

BRAM
Something a helluva lot scarier
than what’s in that box, Frank.
M

Lapidus stops walking. SPOOKED. But Bram lightens slightly.

Puts his hand on Lapidus’ shoulder --
SA

BRAM (CONT’D)
Don’t worry, though. Long as
you’re with us, you’re fine.

Lapidus can’t fucking believe this shit. He almost SCOFFS --

LAPIDUS
That’d be a lot more reassuring if
I knew who you were, ”friend.”
BRAM
(a beat; then)
We’re the good guys.

(CONTINUED)
 59.
102 CONTINUED: (2) 102

Lapidus LEVELS him with a look --

LAPIDUS
In my experience, the only people
who go out of their way to tell you
they’re ”the good guys”?
(beat; pointed)
Are the bad guys.

Bram gives Lapidus a sideways glance, like he’s actually

kinda AMUSED by this guy, then deadpans --

TH
BRAM
You’re a cynical man, Frank.

LAPIDUS
Yeah, well... this place’ll do that
to you.

O
And before this conversation can go any further --

ILANA

103
We’re here.
R
We PULL BACK, and see that Ilana has STOPPED AT THE EDGE of a
clearing... and then we BOOM AROUND THEM ALL TO REVEAL --

EXT. JUNGLE - JACOB’S CABIN - DAY - CONTINUOUS 103

Y
That’s right -- JACOB’S FUCKING CABIN, looming before them
like the ninth wonder of the world. The last time we saw it,
M

Christian and Claire were hangin’ out in there, but right now
-- it just looks fucking creepy and abandoned.

Ilana looks to Bram, who’s now dead fucking serious. He

HOLDS UP A HAND, signals the other three men to stop and put
M

down the box. No more fuckin’ around.

Bram steps away and follows Ilana’s lead... They start to

CIRCLE the CABIN, in opposite directions... both LOOKING DOWN
SA

at the ground... and we SLOWLY CRANE UP, to REVEAL they’re

tracing the border of -- the CIRCLE OF ASH.

ON BRAM as he stops. Kneels down. He’s spotted something --

A GAP in the circle -- like a swath that’s been cleared away.
Concerned, Bram CALLS OUT a warning to Ilana --

BRAM
Look at the ash. The circle’s been
broken.

Ilana freezes in her tracks, her blood gone cold. They trade
ominous looks.

(CONTINUED)
 60.
103 CONTINUED: 103

ILANA
Wait here.

Ilana starts for the cabin, and Bram tries to follow --

BRAM
No, let me come --

ILANA
(get the fuck back)
Wait here.

TH
Bram STOPS, knowing when he’s been given a fucking order.

And now WE’RE WITH Ilana as she climbs up the three CREAKY
steps onto the porch. She pauses at the door, looks to her
left at the HOOK next to it, then looks down... and sees that
the LANTERN that’s normally there is BROKEN. Not a good

O
omen. She twists the doorknob -- CH-CLUNK -- and ENTERS --

104 INT. CABIN - DAY 104

R
CREAAAAAK... the door slowly swings open. Ilana’s curious as
she takes in the mostly empty room: the mangy old dog
painting is still there... the table in the center. But the
rocking chair is overturned. There is nothing else in the
room. It’s is pristine. Clean. She scans the room... until
SOMETHING CATCHES HER ATTENTION: A KNIFE stuck in the wall.
Y
Ilana walks over to it, and now we SEE it’s an ANCIENT
looking thing. (PRODUCTION NOTE: the same knife we saw Jacob
M

use in the teaser.) But that’s not what’s got her attention.
Ilana notices the knife has PINNED SOMETHING to the wall -- a
dusty old piece of TAPESTRY. She YANKS the knife out, pulls
the swatch off the tip.
M

ON ILANA, her EYES NARROW as she stares down at it -- but we

don’t see what she’s seeing. Whatever it is, it’s IMPORTANT,
has some IMPACT on her. As the twinkle of revelation hits
her, we CUT BACK OUT TO:
SA

105 EXT. JUNGLE - JACOB’S CABIN - DAY - CONTINUOUS 105

The door swings open, and Ilana EXITS the cabin. A purpose
in her stride. Bram leaves Lapidus’ side and approaches her,
expectant.

BRAM
What happened?

ILANA
He isn’t in there. Hasn’t been for
a long time.

(CONTINUED)
 61.
105 CONTINUED: 105

BRAM
(concerned)
I don’t understand...

Ilana looks unnerved, almost disgusted by the thought:

ILANA
Someone else has been using it.

Bram stares up at the cabin, understanding her meaning but

not liking it. Not one fucking bit. A beat, then he looks

TH
back at her, awaiting the order:

ILANA (CONT’D)
Burn it.

Bram turns, nods to the other three men near the box, and
they start to pull something from their packs. Lapidus just

O
looks wary of all this shit.

LAPIDUS
Uh, I’m no tree-hugger, but that’s

R
a good way to torch the whole damn
jungle, isn’t it?

Ilana and Bram ignore Lapidus as the three men light up what
looks like a MOLOTOV COCKTAIL in the background. UPCUT to --
Y
106 EXT. JUNGLE - JACOB’S CABIN - DAY - MOMENTS LATER 106

CRASH -- FWOOOOOM!!!! Behind them, the CABIN GOES UP IN

M

FLAMES. Bram turns to Ilana:

BRAM
So, what now?
M

Ilana silently hands him the bit of tapestry. Bram takes it,
holds it up, FLAMES RISING BEHIND HIM as we now GO IN CLOSE
ON him as he softly says --
SA

BRAM (CONT’D)
Well, I guess we know where we’re
going.

And now WE REVEAL what he’s looking at. ON THE WOVEN IMAGE.
It’s the fucking Taweret statue.

And off THAT FUCKING REVELATION, with the cabin ABLAZE behind
Bram and Ilana, we --

BOOM.

END OF ACT SIX

 62.

ACT SEVEN

107 EXT. PARK BENCH BELOW BUILDING - DAY - FLASHBACK (2000) 107

WE ARE CLOSE ON A BOOK. ”Everything That Rises Must

Converge” by Flannery O’Connor.

THE CAMERA SLOWLY TRACKS BACK IN A SINGLE SHOT revealing that

the book is in the hands of none other than --

JACOB. As the CAMERA TRACKS STILL FURTHER BACK we discover

TH
that Jacob is sitting on a park bench in a grassy oasis...

And as the FRAME WIDENS YET MORE we see that the grassy oasis
is in an URBAN AREA -- and that standing behind him is a tall
APARTMENT BUILDING.

We have now dropped back far enough that we are in more of a

O
tableau frame like one of those Corona Beer commercials...
except that the CAMERA is STILL SLOWLY MOVING BACK -- just
enough to create an uncomfortable sense of ANTICIPATION...

YAAAHHHHHHHH!
R
Jacob finishes reading a passage and turns the page when we
hear the sound of GLASS SHATTERING and a scream --

Suddenly behind Jacob WE SEE A MAN CRASH OUT OF AN APARTMENT

WINDOW AND DROP EIGHT STORIES TO THE GROUND!
Y
HE LANDS WITH A THUD ON THE GRASS.
M

Jacob looks over, but NOT with surprise. Instead he calmly

places a bookmark in his book, gets up and now we FINALLY
FOLLOW HIM OVER to DISCOVER the VICTIM --

JOHN LOCKE. This is the day of his fucking ACCIDENT.

M

He lies on his back, and it’s that first moment of eerie

silence after an accident while people are in SHOCK
processing what the fuck just happened. But as Jacob gets
SA

closer to Locke we start hearing COMMOTION -- SCREAMS and

PEOPLE YELLING --

PEOPLE (O.S.)
Ohmygod, he fell from that
building...! Call 911!

Jacob is first to arrive at the scene. He kneels down next

to Locke, who is lying on his back in shock, blinking
furiously and breathing hard.

Jacob reaches down and touches him gently.

(CONTINUED)
 63.
107 CONTINUED: 107

JACOB
It’s all right... Don’t worry,
everything’s going to be all
right...
(then)
I’m sorry this happened to you.

And with those words said, Jacob gets up and WALKS AWAY as
other people RUSH OVER and START GATHERING AROUND LOCKE,
freaked and murmuring --

TH
PEOPLE (O.S.)
Oh my God, did you see that...? I
saw him fall out of that
building...! Is he dead...?

And as Jacob strides away the CAMERA PUSHES IN ON LOCKE’S

TERRIFIED FACE, and WE WHOOOOOOOOSH TO --

O
108 EXT. BEACH - DAY (LATE 2007) 108

JOHN LOCKE.

R
Striding down the beach. No sense that this man EVER fucking
fell out of a window and was PARALYZED. No. This man is a
motherfucking SURVIVOR.

WIDEN TO REVEAL that John is now leading Sun, Ben, Alpert and
Y
the rest of the Others along the shoreline, the roll of the
surf ROARING to their side. Suddenly, Locke HALTS IN HIS
TRACKS. He SQUINTS WITH RECOGNITION at something just up
M

ahead as we ARM AROUND TO DISCOVER --

That we’ve just hit the remains of the old BEACH CAMP where
our castaways once lived. It feels like it’s been fucking
YEARS since we were last here, and for Sun, it really has --
M

SUN
This... is our old camp.
SA

LOCKE
(a beat; then)
Home sweet home.

With that, Locke TURNS TO ADDRESS HIS FOLLOWERS, raising his

voice so that all can hear his words --

LOCKE (CONT’D)
All right, everyone... Richard
tells me we should get to where
we’re going by nightfall, so why
don’t you all take this opportunity
to rest up and catch your breath.
(MORE)

(CONTINUED)
 64.
108 CONTINUED: 108
LOCKE (CONT’D)
Considering what I have planned for
all of you...
(then; smiling)
You’re going to need it.

And despite the ominous tone of that for those of us who have
some idea of what Locke has fucking planned, the Others nod
and smile with silent appreciation. They LIKE this man --
he’s the kind of leader they’ve been WAITING FOR.

And now the GIACCHINO starts to play... something old and

TH
nostalgic... as we UPCUT TO:

A109 EXT. BEACH CAMP - DAY - MOMENTS LATER A109

Sun as she enters the camp. SAND blown over most everything.
Most of the TENTS collapsed... the Giacchino continuing to
play her sense of DISPLACEMENT as she SPOTS something. Walks

O
towards it... DRAWN THERE as we BOOM AROUND TO REVEAL --

THE OLD WOODEN CRIB. Aaron’s crib. Fallen over on its side.
Sun reaches it... and for reasons she doesn’t quite

R
understand herself, she feels compelled to STAND IT BACK UP.

But as she does so... she hears something RATTLE inside the
crib. A small piece of METAL. She furrows her brow, reaches
in and picks it up. WIPES OFF THE SAND. And it’s not just a
piece of metal. No. It’s a RING.
Y
CHARLIE’S DRIVE SHAFT RING.
M

The Giacchino gently hints at Charlie’s theme... another

VICTIM of this fucking island as Sun registers that loss.
Her own eyes WELLING with the memory of something that
happened so fucking long ago as we UPCUT TO:
M

109 EXT. BEACH - DAY 109

A somber Ben Linus, standing at the shoreline, watching the

waves come crashing in as he contemplates just how much he’s
SA

fucking LOST to get back to the place he calls home.

VOICE (O.S.)
Everything all right?

Ben looks over TO SEE Locke approaching.

BEN
Just enjoying some alone time.
(a beat; then)
That’s allowed, isn’t it?

But Locke ignores Ben’s standoffishness, NODS HIS HEAD --

(CONTINUED)
 65.
109 CONTINUED: 109

LOCKE
You see what’s behind you?

Ben follows Locke’s gesture to a charred METAL DOOR wedged

between a couple of trees. It’s warped, corroded, and we can
see the faded remnants of the word ”QUARANTINE” stencilled on
its surface.

BEN
It’s a door.
(unimpressed)

TH
How about that.

LOCKE
It’s not just a door, Ben. It’s
the door to the hatch where you and
I first met.

O
ON BEN, who’s actually TOO FAR ENSCONCED in his own fucking
head for reminiscing right now.

BEN
So it is.
R
LOCKE
We’ve come a long way, haven’t we?

Ben just looks at him. Getting the feeling like Locke is

Y
just fucking PLAYING with him now.

LOCKE (CONT’D)
M

You mind if I ask you a question?

BEN
(fed up)
I’m a Pisces.
M

Locke seems to take that in stride. SMILES --

LOCKE
SA

Actually, you’re a Sagittarius.

ON BEN. Fuck. How the hell does he KNOW all this? But
Locke’s smile disappears now, steps forward --

LOCKE (CONT’D)
But my question, Ben, is what
happened that day in the cabin?
When you first brought me there to
meet Jacob?

ON BEN. Double fuck. But instead of ducking the answer, he

goddamn OWNS it --

(CONTINUED)
 66.
109 CONTINUED: (2) 109

BEN
You clearly already know I was
talking to an empty chair, John.
That I was pretending. Which
doesn’t mean I wasn’t just as
surprised as you were when things
started to fly around the room.

Locke just studies Ben. And whether he already knew all this
or not, he seems almost FASCINATED by the admission --

TH
LOCKE
Why would you go to all the trouble
to make something like that up?

CLOSE ON BEN. Quiet now. INTROSPECTIVE --

BEN

O
I was embarrassed. I didn’t want
you to know that I’ve never seen
Jacob... So yes, I lied.
(a beat; then)

A beat.
R
It’s what I do.

Then Locke NODS.

LOCKE
All right, then.
SATISFIED with that.
Y
And with that, Locke turns to go. But before he does --
M

BEN
Why do you want me to kill Jacob?

Locke stops. Sees the LOOK on Ben’s face. Sees that despite
the bravado, this is a man clearly at fucking SEA. And so,
M

it’s with true patience and sympathy that Locke responds --

LOCKE
Because despite your loyal service
SA

to this island, you got cancer.

You had to watch your own daughter
gunned down in front of you. And
your reward for those sacrifices?
You were banished.
(beat; measured)
And you did all of this in the name
of a man you’ve never even met.

Ben BLINKS. AFFECTED by this -- his eyes filling despite

himself. Because Locke is HITTING THE FUCKING NAIL ON THE
HEAD. He steps closer now. SOFTLY... but BRUTAL --

(CONTINUED)
 67.
109 CONTINUED: (3) 109

LOCKE (CONT’D)
So the real question, Ben... is why
wouldn’t you want to kill Jacob?

And now Locke DOES leave... and we’re LINGERING ON BEN --

considering what an EXCELLENT FUCKING QUESTION that is.

And as we PICK UP Locke, striding away from him, that GLEAM

IN HIS EYES -- a sense that after years of being fucking
MANIPULATED, the shoe is at last on the OTHER FOOT...

TH
We STOP once again on the HATCH DOOR as he passes by.
PUSHING IN ON IT. CLOSER AND CLOSER ON IT, as we finally
WHOOOOOOOOOOOOOSH TO:

110 EXT. SWAN CONSTRUCTION SITE - DAY (1977) 110

THAT SAME HATCH DOOR, only this one is SHINY, PRISTINE, BRAND

O
FUCKING NEW (and with ”QUARANTINE” NOT YET STENCILLED on it).
It’s leaning against a pile of IRON PIPING and CONSTRUCTION
GEAR for the SOON-to-be-built SWAN HATCH.

R
THE CAMERA TRACKS OVER to the DRILL SITE at the EDGE of the
DEEP HOLE where the BLACK DHARMA JUMPSUITED ROUGHNECKS are
SHOOTING WATER with a FIRE HOSE down the drill UNIT...

Dr. Chang is looking on as great BURSTS OF STEAM RISE FROM

THE HOLE as the drill makes horrible GRINDING noises.
Y
Chang checks the GAUGES -- does not like what he sees.
M

CHANG
(calls out)
Radzinsky!

Radzinsky is giving orders and going over CONSTRUCTION PLANS

M

with another WORKER on the other side of the rig.

RADZINSKY
(irritated)
SA

What is it now?

Chang is studying the INSTRUMENT GAUGES.

CHANG
The gauss readings just jumped off
the charts! I’ve never seen
electromagnetic forces this strong!

Now Radzinsky excitedly marches back over to Chang.

(CONTINUED)
 68.
110 CONTINUED: 110

RADZINSKY
Lemme see...
(checks readings)
This is it! We’re on top of the
pocket!

CHANG
And if we keep drilling, we’ll
never get the drill back up!

Before Radzinsky can retort, he is INTERRUPTED as the RADIO

TH
at his side SQUAWKS TO LIFE --

PHIL (V.O. FROM RADIO)

Radzinsky? Are you there? Over!
Stuart! Come in!

An annoyed Radzinsky KEYS HIS RADIO --

O
RADZINSKY
What do you want, Phil?

R
A111 EXT. DHARMAVILLE - INTERCUT A111

Phil stands outside AMY’S HOUSE. Behind him, VARIOUS ARMED

MEMBERS OF THE DHARMA INITIATIVE debate which way Hurley’s
van went. Phil nervously PACES as he talks into his radio --
Y
PHIL
Thank God I got you! That Hostile
who shot the kid -- he came back!
M

RADZINSKY
What the hell are you talking
about?
M

PHIL
Here at the barracks. He attacked
us, then got rescued by some of the
other recruits -- they stole a van
SA

and took off!

Radzinsky reacts, PISSED and INCREDULOUS, upon hearing this

news. He BARKS INTO HIS RADIO --

RADZINSKY
Took off where?

PHIL
We don’t know. But Roger said one
of them had a bomb.

(CONTINUED)
 69.
A111 CONTINUED: A111

That makes Radzinsky about as FAR FROM HAPPY as he could be,

and pushes every paranoid button he’s got as he REALIZES --

RADZINSKY
That Hostile knows about the Swan!
(then; thinking this over)
Get some men and some guns and get
your asses out here right now! If
they’re coming here, we’re going to
be (fucking) ready for them!

TH
And OFF CANDLE, watching in horror as things go from BAD to
FUCKING WORSE. As we SMASH CUT TO:

B111 EXT. JUNGLE ROAD - DAY B111

VROOOOOOOOOOOOOOOM! The SHOT-UP DHARMA VAN peels through

frame as we SMASH CUT INSIDE IT TO FIND --

O
111 INT. DHARMA VAN - DAY - DRIVING 111

JACK

R
How much further?!?

Christ -- it’s like RESERVOIR FUCKING DOGS in here -- Sayid a

bloody mess as Jack continues to try the bleeding. All of
this HAND-HELD -- FRENETIC -- a sweaty Hurley still DRIVING --
Y
HURLEY
We’re like, five minutes away...
M

Sayid GROANS, eyes Jack INTENSELY --

SAYID
Jack... you can’t stop the
bleeding. Please...
M

Jack turns to Jin, grabs his hands, puts them on the TORN
BLOOD-SOAKED SHIRT pressed on Sayid’s BELLY --
SA

JACK
Keep the pressure on it -- I need a
fresh dressing...

Jack turns to the RUCKSACK containing the bomb... pulls out

one of the TOWELS inside as Miles says --

MILES
So... this bomb is supposed to
what, blow us back in time?

(CONTINUED)
 70.
111 CONTINUED: 111

Clearly, a DOWNLOAD has occurred since we last saw these

guys. But that doesn’t mean they fucking UNDERSTAND IT.
Jack shakes his head, dismissive --

JACK
We’re not going back in time.

MILES
Right. Because that would be
ridiculous.

TH
Jack ignores him, moves back to Sayid, pressing the new
dressing onto his wound as Sayid looks at him, SERIOUS --

SAYID
I need to modify the bomb.

Jack REACTS -- huh? Miles just shakes his head, JESUS --

O
MILES
Great idea! Let’s give the nuke to
the dying Arab with nothing left to

R
(fucking) lose!

But Sayid IGNORES HIM, looking right into Jack’s eyes.

is VERY fucking important --

SAYID
This
Y
I can rig it so it will detonate on
impact. Jack... we need to be
there at the moment of the
M

incident... And if we’re not...

(beat; grave)
All of this will be for nothing.

And as Jack grapples with the hard-core fucking REALITY of

M

the stakes here... SCREEEEEEEEEEEEEECH.

The van JERKS to a HALT as Hurley SLAMS ON the brakes!

Everyone is thrown forward -- BRACES THEMSELVES. Jack’s the
SA

first to shake it off --

JACK
Why the hell are we stopping?!?

And Hurley just stares through the windshield for a beat

looking pretty fucking SURPRISED. Then... he POINTS --

HURLEY
That’s why...

And now we BOOM AROUND TO SEE THROUGH THE WINDSHIELD --

(CONTINUED)
 71.
111 CONTINUED: (2) 111

Standing in the middle of the road. With his GUN OUT,

BLOCKING THE FUCKING ROAD, are --

SAWYER. And his expression is pure DON’T-FUCK-WITH-ME.

Beside him stand --

KATE. AND JULIET. And now...

They ALL SEE EACH OTHER -- and while there is RELIEF, this is
not a jubilant reunion. Especially for --

TH
Jack and Sawyer. A MOMENT as they LOCK EYES through the
windshield. TWO GUNSLINGERS on opposite ends of MAIN STREET.

Yeah. This shit is about to get REAL.

BOOM.

O
END OF ACT SEVEN

R
Y
M
M
SA
 72.

ACT EIGHT

112 EXT. SOUTHERN CHURCH - JASPER, ALABAMA - DAY - FLASHBACK 112

(1976)

We are TIGHT ON A COFFIN. FOLLOWING the unadorned PINE BOX

as four men in simple BLACK SUITS carry it to the back of a
BIG BLACK HEARSE. With a final HEAVE they slide it into
position beside...

ITS TWIN -- A SECOND IDENTICAL PINE BOX. Awaiting it in back

TH
the hearse for what will be their final journey. And now we
know we are at A DOUBLE FUNERAL. ARM AROUND TO REVEAL --

A BLONDE, EIGHT YEAR-OLD BOY in a cheap, awkward-fitting

suit. He’s standing in the front of a CROWD OF MOURNERS. A
MAN, 40s, stands beside him, keeps a steadying hand on the
boy’s shoulder.

O
The boy’s eyes are WIDE as he looks at the coffins. And we
might notice here that they are filled not with tears, but
with a steady, building ANGER. And as the HEARSE DOOR SLAMS

113

114
SHUT WE UPCUT TO:

OMITTED
R
EXT. SOUTHERN CHURCH - LATER - FLASHBACK (1976)
113

114
Y
A PEN. Scratching across a sheet of loose-leaf paper. But
there’s no ink coming out. TILT UP to find our blonde boy.
He’s sitting beneath the shade of tree, shaking the pen to
M

make it work just as WE HEAR --

VOICE (O.S.)
You need a pen, son?
M

The boy looks up. And by now, we’re starting to finally

RECOGNIZE the voice --

JACOB. He wears a black suit. And if we’d looked closely at

SA

the crowd behind the hearse, we might’ve noticed him in the

periphery. But this boy? He doesn’t know him from Adam.

BOY
Yeah. Thanks.

Jacob reaches into his pocket, produces a pen, holds it out --

JACOB
Here you go. You can keep it.

The kid takes the pen (yes, their fingers touch briefly) and
now Jacob looks at him with GENUINE SYMPATHY --

(CONTINUED)
 73.
114 CONTINUED: 114

JACOB (CONT’D)
I’m very sorry about your mother
and father, James.

The boy looks up at Jacob, swallows the lump in his throat

and NODS. Jacob NODS BACK, then moves off.

And JESUS, we know who this is now. YOUNG SAWYER. And if

you need to be reminded what let to his parents death, sit
tight. It’s fucking COMING.

TH
And now, as we watch Young Sawyer continue to write on his
pad, the MAN we saw earlier walks up. This is UNCLE DOUG.

UNCLE DOUG
C’mon, Jimmy. We gotta get to the
cemetery, okay?
(then; noticing)

O
What’re you writing?

Young Sawyer gets nervous, tries to shut his notebook --

Nothin’. R
YOUNG SAWYER

But Doug’s too quick for him.

look, starts to read ALOUD --
Grabs the notebook, gives it a
Y
UNCLE DOUG
”Dear Mr. Sawyer. You don’t know
who I am. But I know who you are.
M

And I know what you done.”

Uncle Doug shakes his head as he takes a KNEE. Eye to eye

with his nephew. His tone is strong, authoritative -- but he
is not without his own private grief. And he feels for this
M

boy, DEEPLY --

UNCLE DOUG (CONT’D)

Listen to me, Jimmy -- I know
SA

you’re angry at the man that did

this to your mama and daddy -- and
hell, you got every right to be...
(beat; firm)
But you gotta move on, boy.
They’re gone. And there ain’t
nothing you can do to change that.

Young Sawyer looks away. This is NOT what he wants to hear.

But Doug takes his chin, gently turns it back to him --

(CONTINUED)
 74.
114 CONTINUED: (2) 114

UNCLE DOUG (CONT’D)

So you can either spend your life
crying about what coulda been
different, or you can be grateful
for what you still got. Either
way?
(listen careful now)
What’s done is done.

ON YOUNG SAWYER -- that fucking hits HOME. And now, Doug

holds up the NOTEBOOK --

TH
UNCLE DOUG (CONT’D)
Now promise me you’re not gonna
finish that letter.

YOUNG SAWYER
(a beat; then)

O
I promise.

Uncle Doug studies him. The kid is utterly SINCERE.

Good. R
UNCLE DOUG

And since we know damn well that Sawyer finished that letter,
we may very well have just watched him execute his VERY FIRST
CON. Doug hands him back the notebook, as they both get to
Y
their feet --

UNCLE DOUG (CONT’D)

M

C’mon. Let’s go say good-bye.

And as his uncle puts his arm around him and the two start to
walk off towards us, we HOLD ON THIS SAD, ANGRY LITTLE BOY
and WHOOOOOOOOOOOOOOOSSSHH TO:
M

115 EXT. JUNGLE - DHARMA ROAD - DAY (1977) 115

AND WE ARE CLOSE ON SAWYER’S STEELY FUCKING EYES as in one

SA

SINGLE SHOT, we ROTATE around him and drop over his shoulder
to find --

THE DHARMA VAN. Stopped in its fucking tracks. Hurley

behind the wheel, looking BEFUDDLED. Clearly, we’re right
where we fucking LEFT OFF. Juliet and Kate standing on
either side of Sawyer as --

SLSSSSH! The back door of the van opens up, and Jack hops
out. The top of jumpsuit now tied around his waist revealing
the BLOOD-STAINED T-SHIRT underneath. Jack takes in
Sawyer... and the fact that Kate is by his side --

(CONTINUED)
 75.
115 CONTINUED: 115

JACK
What’s going on, Kate?

KATE
(a beat; then)
We came to stop you.

ON JACK. And somehow this HURTS him. Sawyer speaks up now,

surprisingly CALM given the circumstances --

SAWYER

TH
Doc. We gotta talk.

Jack turns to Sawyer -- WHAT?!? Starts to RAMP UP --

JACK
You want to talk? Then get in the
van because we don’t have time to --

O
SAWYER
-- I ain’t gettin’ in the van.

R
Sawyer steps forward now. Not right in Jack’s face, but
close enough to know he’s fucking SERIOUS --

SAWYER (CONT’D)
I need five minutes. That’s all.
I’ll say what I have to say, then
Y
you do whatever the hell you want
to. But you’re gonna listen.
(beat; measured)
M

You owe me that much, Jack.

ON JACK. TURNS TO Kate, who holds his stare. She’s clearly

AGAINST him now. And so, after a beat --
M

JACK
Five minutes.

Sawyer NODS. UNSLINGS his rifle, hands it to Juliet as he

SA

says to Jack --

SAWYER
Let’s leave our guns here.
(a joke?)
Wouldn’t want to get carried away.

With that, Sawyer walks off into the jungle. Jack just
shakes his head, eager to get this OVER with as he pulls the
HANDGUN out of his waistband, hands it to Kate. Her eyes
DROP as she sees the look in his eyes -- DISAPPOINTMENT. And
now, Jack FOLLOWS Sawyer off into the jungle and we UPCUT TO:
 76.

116 EXT. JUNGLE - FIGHT AREA - CONTINUOUS 116

PICK UP Sawyer as he walks through the JUNGLE. Jack a few

paces behind him. And JESUS --

You can cut the fucking tension with a goddamned KNIFE.

Sawyer finally reaches a CLEARING. Good a place as any. He

takes a seat on a DOWNED TREE. Gestures to a STUMP --

SAWYER

TH
Take a load off.

JACK
No, thanks.

SAWYER
(hard)

O
Sit down, Jack.

ON JACK. Doesn’t like being ordered around at fucking ALL.

But... there IS that new part of him, too. The ZEN Jack.

R
And so, rather than going NUCLEAR? He SITS.

A beat now as they just sit there.

SAWYER (CONT’D)
And then --

My folks died when I was eight

Y
years old. I ever tell you that?

Jack is SURPRISED. Of all the ways he thought this

M

conversation would start, THAT didn’t make the fucking list.

JACK
No.
M

SAWYER
Con man took my dad for all he was
worth. He didn’t handle it too
well.
SA

(beat; dark)
So he shot my mom. Then he blew
his own head off. I was hiding
under the bed when it happened.
Heard the whole thing.

Jack doesn’t know what to fucking say. He’s FLOORED --

JACK
I’m... sorry.

(CONTINUED)
 77.
116 CONTINUED: 116

SAWYER
Yeah. Me, too. Worst thing that
ever happened to me.
(a beat; then)
That was a year ago.

Huh? Jack FURROWS his brow. CONFUSED --

JACK
...What?

TH
SAWYER
Right now, it’s July of 1977. So
that happened last year.

ON JACK. Starting to get where this is going. But for those

of us who don’t? Sawyer CONTINUES --

O
SAWYER (CONT’D)
So I could’ve hopped on a sub, gone
back to the States, and walked
right into my house and stopped my

R
daddy from killing anybody.
(then; emotional)
And I coulda pulled that little boy
out from under that bed and told
him everything was gonna be okay.
Y
Jesus. Holy fuck. And Jack can’t help but ask --

JACK
M

Why... didn’t you?

Sawyer leans forward now. SURE of this as he is of anything

in his fucking life --
M

SAWYER
Because, Jack...
(beat; hard)
What’s done is (fucking) done.
SA

ON JACK. And he can’t help but share Sawyer’s RAW emotion

right now. Doesn’t know why, but he fucking feels his LOSS.
But now he LOOKS UP. Softly says --

JACK
It doesn’t have to be that way.

Sawyer just looks at him now. Shakes his head. Clearly,

there’s something else here. Something DEEPER.

SAWYER
What’s in it for you?

(CONTINUED)
 78.
116 CONTINUED: (2) 116

JACK
...What?

SAWYER
What’d you screw up so bad the
first time around that you’re
willing to blow up a damned nuke
just for a second chance?

JACK
That’s not what this is about.

TH
SAWYER
(bullshit)
Then what is it about?

Jack looks at him. Trying to curb his frustration. As far

as he’s concerned, this is like explaining CALCULUS to a

O
Kindergarten class --

JACK
Three years ago, me and Locke were

R
coming right through here with a
pack full of dynamite so we could
blow that hatch up, and he told me
all of this was happening for a
reason. That being here was our
destiny. And I thought he was as
Y
crazy as you think I am right now.
(then; realizing)
Funny how history has a way of
M

repeating itself.

SAWYER
(deadpan)
Hilarious.
M

But Sawyer leans forward now. ENOUGH OF THIS SHIT --

SAWYER (CONT’D)
SA

But I don’t speak “destiny.” What

I do understand is that a man does
what he does because he wants
something for himself. So I’m
gonna ask you one more time...
(and you better fucking
answer)
What do you want, Jack? What’s in
it for you?

(CONTINUED)
 79.
116 CONTINUED: (3) 116

ON JACK. And although he DOES fucking feel this is his

destiny -- his PURPOSE -- he also knows that he could never
communicate that to Sawyer. But there is ONE thing he would
understand. One thing that they SHARE.

And so. Finally.

JACK
I... had her.
(beat; pained)
I had her and I lost her.

TH
Now it’s Sawyer’s turn to be surprised. But he knows exactly
who Jack is fucking talking about.

SAWYER
Kate.

O
Jack NODS. Yes. Kate. Sawyer just SHAKES HIS HEAD --

SAWYER (CONT’D)
Well damn, Doc, she’s standing

and ask her.

R
right on the other side of those
trees. You want her back, just go

And one last moment of PURE FUCKING VULNERABILITY as Jack

sadly says --
Y
JACK
It’s too late for that.
M

And Jack STANDS now. Embarrassed. Especially considering

who he just fucking CONFESSED this to.

JACK (CONT’D)
M

Your five minutes are up.

Sawyer rises too, CROSSES to him. Still sympathetic, but not

quite following Jack’s fucking LOGIC --
SA

SAWYER
Jack... if this thing you’re doing
even works -- if you call a ”do
over” and we start from scratch...
(listen to me, fucker)
You and Kate’ll be strangers. And
she’s in damned handcuffs.

ON JACK. And yeah, he’s considered that too. But, HOPEFUL --

(CONTINUED)
 80.
116 CONTINUED: (4) 116

JACK
If it’s meant to be... it’s meant
to be.

Sawyer cocks his head, SURPRISED. Hard to match this

sentiment with the fucking EMPIRICIST he used to know --

SAWYER
What happened to make you so
damn... faithful?

TH
JACK
(a beat; then)
Locke died.

Sawyer LOOKS at Jack now. And he sees the face of a man dead
set on his fucking path. And so, Sawyer shakes his head.
Walks towards Jack, knows he’s fighting a losing battle --

O
SAWYER
Guess there’s nothin’ I can say to
change your mind.

JACK R
Guess there’s not.

Well then.
SAWYER
Y
And Jack never sees it fucking coming.
M

KRRRACK! Sawyer HAULS OFF, SMASHES JACK IN THE FACE WITH A

FUCKING HAYMAKER! Jack is CAUGHT OF GUARD -- STUMBLES BACK
as Sawyer HITS HIM AGAIN --

SAWYER (CONT’D)
M

Who the hell d’you think you ARE?!?

Jack staggers back, goes ASS OVER TEAKETTLE OVER THE FALLEN
TREE -- Sawyer SHOUTING as he moves in to fucking HAND OUT
SA

MORE PUNISHMENT, the RAGE he kept in CHECK ALL THIS FUCKING

TIME officially OUT ON THE GODDAMN TOWN --

SAWYER (CONT’D)
You think you can just come back
here and do whatever you WANT?!? I
had a damned LIFE here!!!!

But as Sawyer’s foot comes down towards Jack’s face, Jack is

fucking READY this time -- GRABS IT -- TWISTS -- Sawyer hits
the dirt as Jack TWISTS TOWARDS HIM --

And now? After fucking FIVE SEASONS. Sawyer and Jack FIGHT.

(CONTINUED)
 81.
116 CONTINUED: (5) 116

It’s BRUTAL. DIRTY. And EVEN. It is not our job to

describe how it looks -- only how it FEELS. But there is no
fucking love lost between these two MEN. And both of them
want to fucking HURT the other. But in the end --

It’s Sawyer who fights just a little DIRTIER.

And he gets Jack PINNED DOWN on the ground with his fucking
hand around his neck. CHOKING HIM. And they’re EYE TO
FUCKING EYE as Sawyer GROWLS, BREATHING HEAVILY --

TH
SAWYER (CONT’D)
Will... you... stop?

And there is FIRE in Jack’s eyes. Can barely gasp out in the
process of being CHOKED, but we hear it clear as day --

JACK

O
No.

And so Sawyer just starts SLAMMING PUNCHES into Jack’s face

over and over and over, just like Jack did to Ben not so long

R
ago. And Jack just TAKES it. DEFIANT. WHAM. WHAM. WHAM!
And just when we wonder how Jack can fucking TAKE anymore --

JAMES!!!
VOICE (O.S.)
Y
Sawyer STOPS. Turns towards the VOICE. And we follow his
GAZE, RACKING FOCUS TO REVEAL --
M

JULIET
Let him go.

Juliet stands at the edge of the clearing. INTENSE. And

Sawyer instantly SNAPS out of his rage...
M

Releases Jack’s neck... looks at Juliet like a kid who just

got busted during recess.
SA

He RISES now. Crosses to her, ASHAMED at her seeing him this

way, but TRYING TO EXPLAIN, GUILTY --

SAWYER
He... wouldn’t listen to me. I had
to or... He won’t stop.

And Juliet steps forward now.

JULIET
That’s because he’s right.

(CONTINUED)
 82.
116 CONTINUED: (6) 116

Wait. WHAT? ON SAWYER. As SHOCKED to hear those words come

out of HER fucking mouth as we are --

SAWYER
What...?

JULIET
He’s right, James. We have to do
this.

Sawyer shakes his head, REELING --

TH
SAWYER
What are you... talking about?
You’re the one who told me to come
back and stop him! What the hell
happened?

O
And we HOLD ON Juliet. And we see the deep SADNESS in her
eyes as she gently touches Sawyer’s face and says --

JULIET

Uh... WOW.
R
I changed my mind.

SMASH TO BLACK.
Y
END OF ACT EIGHT
M
M
SA
 83.

ACT NINE

117 EXT. JUNGLE - DUSK (LATE 2007) 117

DARKNESS BEGINS TO FALL on our island, as the vast ocean

starts to swallow an orange sun.

GIACCHINO PLAYS TRIUMPHANT as Locke and company complete

their day-long journey across the island. As they round the
bend to --

TH
118 EXT. BEACH - DUSK 118

A new stretch of beach, the Others at the forefront of this

trek suddenly STOP DEAD IN THEIR TRACKS --

LOCKE
What is it? Why are we stopping?

O
ALPERT
You’ll see.

the spectacle...
R
Locke and Alpert move to the front of the crowd, and now they
STOP AND STARE, especially Sun, because the sight is quite

Because the CAMERA CRANES AROUND TO REVEAL that they now

stand --
Y
At the base of the FOUR-TOED STATUE. JUST THE FOOT ALONE.
It looms above them in all its crumbled majesty. It’s all
M

that remains of Taweret here in the present, the rest of the

statue having fallen into the ocean that skirts the front of
it long ago.

LOCKE
M

It’s a wonderful foot, Richard...

but what’s it got to do with Jacob?

CLOSE ON Alpert --
SA

ALPERT
It’s where he lives.

And as Locke tries to DIGEST this bizarre exchange, we PUSH

IN ON THE FOUR-TOED STATUE and WHOOOOOOOSH TO --

119 EXT. SANTA MONICA BLVD CROSSWALK - DAY - FLASHBACK (OCT 2005)
119

JACOB, squinting up at the cloudless sky. Soaking up a

moment of sunshine. He looks down at a laminated FOLD-OUT
MAP of LOS ANGELES.

(CONTINUED)
 84.
119 CONTINUED: 119

We WIDEN and see he’s standing at one end of a CROSSWALK on

Santa Monica Blvd, within three blocks of La Brea A CAR
STOPS to let him cross, and as he steps into the street we
ARM AROUND and SEE FROM JACOB’S POV --

SAYID. He enters the crosswalk at the other end, HEADING

TOWARDS us. And there’s a familiar WOMAN at his side --
NADIA -- the love of Sayid’s life. She digs through her
purse, laughing and joking with him as they walk.

SAYID

TH
Paris, or Vienna?

NADIA
(laughing)
No.

SAYID

O
Florence?

NADIA
It doesn’t matter, Sayid. As long

R
as we’re together.

SAYID
It does matter. To celebrate our
anniversary, we must find the
perfect place --
Y
NADIA
(digs)
M

I would settle for finding my

sunglasses...

As Jacob APPROACHES THEM, he UNFOLDS the map. Sets his

sights on Sayid --
M

JACOB
Excuse me, sir, can you help me?
SA

SAYID
Yes?

Sayid stops, but a distracted Nadia WALKS ON, into the

background of the frame, digging for those sunglasses --

JACOB
I think I’m lost. Are you from Los
Angeles?

SAYID
What are you looking for?

(CONTINUED)
 85.
119 CONTINUED: (2) 119

Before Jacob can answer, Nadia STOPS about SIX FEET behind
them. We RACK TO HER as she turns to Sayid with a TRIUMPHANT
expression, pulls out the SUNGLASSES --

NADIA
I found th--

VRRRRRRM--KA-BAM!!!!

AN SUV PLOWS INTO NADIA. FAST. SHOCKING. BRUTAL. Taking

her out of frame --

TH
ON SAYID: OHFUCKNO. JAW HANGING OPEN, HORRIFIED --

SAYID
NADIA!!!

(PRODUCTION NOTE: DURING THE MOMENT OF IMPACT, Jacob reaches

O
over and touches Sayid’s shoulder. But this should be VERY
SUBTLE -- so subtle that a viewer could rightly argue that
Jacob never touched Sayid, especially with the focus of the
scene being the IMPACT. But if you rewind your DVR and go

R
SLO-MO you can CONFIRM THAT JACOB DID, in fact, TOUCH HIM.
Downstream in the show, this is an important Easter egg.)

Now we TRAIL SAYID as he CHARGES towards the SUV --

Suddenly, its REVERSE LIGHTS KICK ON -- the SUV JERKS BACK a

Y
few feet, then LURCHES FORWARD and SPEEDS AWAY -- a fucking
HIT AND RUN. As it zooms off, camera LANDS ON --
M

NADIA. Limp, CRUMPLED in the street, like a rag doll with

its limbs awkwardly folded under it.

Sayid reaches her -- oh GOD all that fucking BLOOD from her
mouth, her nose, her forehead -- he drops to his knees, EYES
M

WET, DEVASTATED by the sight of the woman he loves -- his

hands TREMBLE as they brush the hair back from her face --

SAYID (CONT’D)
SA

Nadia... Nadia...?

Nadia’s lips move, but it’s hard to hear anything except her
RASPY breath, her chest cavity CRUSHED from impact. Sayid
leans in close, EYES WELLING, their faces an inch apart --

SAYID (CONT’D)
I’m here, I’m right here...
(then; lying)
It’s going to be all right...

(CONTINUED)
 86.
119 CONTINUED: (3) 119

Clearly, it’s NOT gonna be all right but he’s doing his best
to comfort her. Nadia’s eyes flicker, one last moment of
recognition, and in a HOARSE WHISPER, she manages --

NADIA
(in Arabic; subtitled)
Home...

SAYID
(straining to hear)
I don’t --

TH
NADIA
(in Arabic; subtitled)
Take me... home... where we
belong...

A peaceful look crosses her face... and then, she’s gone. ON

O
SAYID -- PARALYZED -- HE CAN’T BREATHE -- it all just
happened so fucking FAST --

SAYID
Nadia?

Nadia?!
R
(tears streaming)

And as Nadia dies in his arms, a part of Sayid dies as well.

He can do nothing now but hold her and weep silently. OFF
Y
SAYID, in sheer FUCKING AGONY, we WHOOOOOOSH TO:

120 EXT. JUNGLE - OUTSIDE THE DHARMA VAN - DAY (1977) 120
M

...SAYID, his face now twisted in A DIFFERENT KIND OF AGONY.

He’s sweaty and weak -- the GUNSHOT WOUND in his stomach is
packed with RAGS that are slick and dark with BLOOD...
M

...And now we see that lying open next to the rucksack full
of PARTS and on his lap is the CYLINDER. Painstakingly,
Sayid is making MODIFICATIONS to the NOSE OF THE BOMB.
SA

A WIDER ANGLE reveals that Sayid is propped up against the

back of the DHARMA VAN. HURLEY and MILES are huddled a short
distance away, giving Sayid room to work.

JIN stays nearby, grimly tearing up RAGS for bandages, even

though Sayid’s wound is looking more TERMINAL by the minute.
He’s so focused on his task that Sayid’s voice STARTLES HIM:

SAYID (O.S.)
I’m sorry I hit you, Jin.

Jin looks up.

(CONTINUED)
 87.
120 CONTINUED: 120

JIN
(nods)
I’m sure you thought you had a good
reason for it.

SAYID
(beat; and then)
Well. Either way, nothing changed.

He RESUMES working on the bomb. And by way of ACCEPTING that

apology, Jin simply moves forward, clearly concerned --

TH
JIN
Is this -- what Jack is doing -- is
it going to work?

Sayid looks up at him now. SINCERE --

O
SAYID
Everything I ever cared about is
gone. So if there’s even a tiny
chance that I could regain what

R
I’ve lost... it’s worth the risk.
(and then; pointed)
Wouldn’t you agree?

And by the look on Jin’s face, he’s thinking of how he’ll be

REUNITED with Sun if this plan succeeds -- so yes, he fucking
Y
DOES AGREE. Off Sayid and Jin’s SHARED RESOLVE, we CUT TO:

121 EXT. NEARBY JUNGLE - DAY 121

M

A CONFUSED and ANGRY Sawyer, STRIDING after Juliet. She’s

moving fast, keeping a TIGHT FUCKING GRIP on her emotions.

SAWYER
M

Hey! Stop. Let’s talk about this.

JULIET
There’s nothing to talk about,
SA

James. We have to let Jack do what

he came out here to do.

SAWYER
Well maybe you shoulda told me you
had a change of heart before I
brought him out into the jungle to
kick his ass!

JULIET
Would that have stopped you?

(CONTINUED)
 88.
121 CONTINUED: 121

SAWYER
(thinks; then)
No.

JULIET
Well then, I’m glad you finally got
it out of your system.

Sawyer GRABS her arm now. Turns her around. ANGRY... but
also desperate to make a CONNECTION. This cynical, wiseass
version of Juliet is clearly desperately trying to HIDE

TH
something from him -- and he wants to fucking SEE IT.

SAWYER
Hey. I need you to tell me where
the hell is this coming from. One
minute, you’re leading The Great
Sub Escape, and now you’re onboard

O
with blowing up the damn island.
(then; emphatic)
I got a right to know why you
changed your mind.

R
A beat. And then, Juliet finally looks into his eyes. And
we hear the DEPTH OF HER SINCERITY in this calm admission --

JULIET
I changed my mind when I saw you
Y
look at her.

Sawyer REACTS. Because he knows goddamn well what she’s

M

talking about. He opens his mouth to DENY IT, but --

JULIET (CONT’D)
Don’t. Please. Just... don’t.
M

ON SAWYER. Dammit if he won’t FIGHT this. He PULLS her

close, puts his hand gently on her hip. Intimate. GENUINE --
SAWYER
SA

I don’t care who I looked at. I’m

with you.

And now we finally hear the SADNESS in her voice as she

softly responds --

JULIET
And you’d stay with me forever if I
let you. And that’s why I’ll
always love you.

(CONTINUED)
 89.
121 CONTINUED: (2) 121

And Sawyer can only shake his head. Wants her. LOVES her.
But knows she’s fucking RIGHT. He reaches out, touches her
gently. Intimate.

SAWYER
Listen. You don’t have to...

But Juliet won’t let him talk -- she wants to finish -- GET
IT ALL OUT --

JULIET

TH
What we had... was just for a
while. And just because we love
each other... That doesn’t mean
we’re supposed to be together.
(beat; hard)
Maybe we were never supposed to be
together, James.

O
Her MOTHER’S words all that time ago come out of Juliet’s
mouth with a deep simplicity that only comes from true and
abiding love. And now, with the strength of knowing her

R
choice is the right one... the ONLY one --

JULIET (CONT’D)
So if Jack can make it so that none
of you ever come here, he should.
Y
Sawyer shakes his head -- just doesn’t get where this is
coming from. WANTS to fucking understand. And so, softly --
M

SAWYER
Why... are you doing this, Juliet?

JULIET
There’s fifty reasons. But the
M

only one you need to understand...

ON JULIET’S SHINING EYES. And we see in them that STRENGTH

we’ve come to know and love -- matched with the self-
SA

preservation that has allowed her to survive here --

JULIET (CONT’D)
Is that if I never meet you... then
I never have to lose you.

And Juliet gently reaches down. Removes Sawyer’s hand.

Turns away and walks off.

And as we HOLD ON Sawyer. Confused. HEARTBROKEN. And

wondering where the fuck they’re supposed to go from HERE, we
SMASH CUT TO:
 90.

122 EXT. JUNGLE - SWAN CONSTRUCTION SITE OVERLOOK AREA - DAY 122

A DISTANT POV -- LOOKING DOWN FROM A RAISED EMBANKMENT at --

THE SWAN WORK SITE. A LOT MORE ACTIVITY as the CREW from the
WATER TRUCK aggressively HOSES down the DRILL, which POUNDS
its way DEEPER INTO THE FUCKING GROUND. We TURN now to see
exactly whose POINT OF VIEW this is...

JACK. And he looks like he just stepped out of a fucking

BOXING RING. Barely aware of the OPEN CUT over one of his

TH
eyes, he looks INTENSELY down at the work site because he
knows... no, he FEELS --

Whatever happens, his path has fucking led him HERE.

VOICE (O.S.)
Jack.

O
Jack TURNS. SEES Kate. Somewhere between NUMB and CONCERNED
as she takes in Jack’s battered FACE --

(dry)
R
KATE
What happened?

JACK

My talk with Sawyer didn’t go well.

Y
She shakes her head, pulling a BANDANA out of her pocket as
she approaches him --
M

KATE
You’re bleeding.

Jack touches the wound over his eye, WINCES at the contact as
M

Kate reaches him, raising the bandana --

KATE (CONT’D)
Let me.
SA

And Jack LETS her tend to his wound, cleaning it out. And
there is a real TENDERNESS and OPENNESS between then that we
haven’t seen in a while.

KATE (CONT’D)
Does it hurt?

JACK
It’s all right...

As Kate dabs away the blood, we see she’s THINKING BACK about
something...

(CONTINUED)
 91.
122 CONTINUED: 122

KATE
Do you remember when I sewed you
up? When we first got here?

And of course Jack remembers...

JACK
Yeah...
(smiles)
Seems like a million years ago.

TH
KATE
(a glint in her eye)
Or thirty years from now.

And considering everything that’s happened between them, it’s

not far from the truth. A few beats pass. And then --

O
JACK
Why’d you make me promise never to
ask what happened to Aaron?

them right now --

R
Kate BLINKS. Surprised. But if Jack wants the fucking
answer, she’ll give it, especially given the INTIMACY between

KATE
Because I was so... angry at you.
Y
For making me come back here.

ON JACK. And he nods. OWNS that. Then --

M

JACK
Is he why you came back?

And Kate just gives it to him --

M

KATE
I came back so he could be where he
belonged.
SA

(beat; hard to say)

With his mother.

And there is silence for a beat as they both process the

implications of that. And As Jack thinks it through, he
shares his thoughts and GENUINE HOPES with Kate --

JACK
Kate... if this works then Claire
will never come to the island. And
they’ll always be together. Just
like they were supposed to be.

(CONTINUED)
 92.
122 CONTINUED: (2) 122

KATE
(shakes her head)
Claire was going to put Aaron up
for adoption...

JACK
We don’t know what she would do.
But whatever it is...
(beat; then)
At least it will be her choice.

TH
ON KATE, as her eyes start filling. Thinking about THAT.
AND... because for the first time since he started spouting
this fucking insanity? Jack is actually making SENSE.

JACK (CONT’D)
I know it’s hard to believe... but
nothing... ever in my life has ever

O
felt this right.
(a beat; desperate)
I just needed you to believe that.

R
And off Jack’s SINCERE CONVICTION, all Kate can do is NOD in
response. And the GIACCHINO is playing the shit out of this.
BREAKING OUR GODDAMNED HEARTS. Because FUCK -- Kate wants to
believe in him again. Wants to believe so goddamn BAD. But
before she opens her mouth to respond --
Y
WHUURRRRRNNNEEEEEKRRRRRR! BOTH of their heads whip towards
the HORRIBLE SOUND emanating from --
M

THE SWAN SITE BELOW where an ALARM BELL STARTS TO RING --

like an old-school FIRE ALARM when we were in HIGH SCHOOL --
a sound that instantly tells us we are in FUCKING DANGER.
And now, Jack turns to Kate --
M

JACK (CONT’D)
It’s about to happen.

And we see something in Kate that we’d almost forgotten she

SA

was capable of. FEAR. But Jack is feeling the OPPOSITE --

the emotion from a moment ago instantly replaced by a sense
of ADRENALIZED PURPOSE as he simply asks --

JACK (CONT’D)
Are you coming with me, Kate?

And fuck. Shit. Fuck shit FUCK. But seeing him this way...
seeing that old CONFIDENCE in his eyes -- something she
thought that was gone forever -- she can’t help herself.

KATE
Yes.

(CONTINUED)
 93.
122 CONTINUED: (3) 122

And Jack allows himself a triumphant fucking SMILE --

JACK
Then let’s go.

BOOM.

END OF ACT NINE

TH
O
R
Y
M
M
SA
 94.

ACT TEN

123 INT. PRISON - DISCHARGE AREA - DAY - FLASHBACK (NOV 2007) 123

PERSONAL EFFECTS are being unloaded from a plastic bag as a

PRISON CLERK drones on --

PRISON CLERK
One wallet. Two hundred twenty
seven dollars cash. One ball point
pen. One fruit roll up. Sign

TH
here.

REVEAL Hurley. At the discharge window. Being let out of

jail. He shakes his head. RELUCTANT TO LEAVE.

HURLEY
You don’t understand, this is a

O
mistake. I killed a buncha people.

PRISON CLERK
(holds up a PAPER)

stuff and go.

R
See this? It’s a discharge form.
You’ve been cleared. So take your

He shoves them toward Hurley. Hurley looks around, NERVOUS,

then leans in conspiratorially --
Y
HURLEY
Look, dude, I won’t be safe. There
M

are men with tranquilizer guns

hunting me down. Like an animal.
And they want to bring me somewhere
against my will.
M

The Clerk just looks at Hurley. DEADPAN.

PRISON CLERK
There’s a cab stand right out
SA

front.

And OFF HURLEY, all but PUSHED out the fucking door. SMASH
CUT TO:

124 EXT. PRISON - DAY - FLASHBACK (NOV 2007) 124

SLAM. The door of the fucking PRISON BANGS SHUT behind him.
He shakes his head angrily as he spots --

A LONE CAB waiting on the street. Walks towards it, reaching

for the back door, OPENING IT --

(CONTINUED)
 95.
124 CONTINUED: 124

But suddenly realizes there’s already a PASSENGER.

HURLEY
Sorry. Didn’t see it was taken,
dude.

AND NOW WE ARM AROUND TO REVEAL THAT PASSENGER --

Is none other than JACOB. A GUITAR CASE sits between him and
Hurley. He smiles, FRIENDLY --

TH
JACOB
Actually, I’m only going a few
blocks if you want to share.

And Hurley, having no idea he’s talking to the MAN IN CHARGE

OF THE FUCKING ISLAND, smiles back --

O
HURLEY
Cool. You sure?

JACOB

125
Come on in.
R
And as Hurley HOPS IN, WE UPCUT TO --

INT. CAB - DAY - DRIVING - FLASHBACK (NOV 2007) 125

Y
The DRIVER is oblivious to his passengers, chatting softly
throughout the scene on his blue tooth headset in some
indeterminate FOREIGN LANGUAGE, as Hurley pulls out his FRUIT
M

ROLL-UP. Opens it. OFFERS IT --

HURLEY
Want some? It’s cherry.
M

JACOB
No, thanks.

Hurley takes a bite himself. Chews --

SA

HURLEY
So. What were you in for?

JACOB
Excuse me?

HURLEY
Jail. I was in there cause I
killed three people. But I didn’t
really. I guess they figured it
out. So what about you?

(CONTINUED)
 96.
125 CONTINUED: 125

JACOB
I wasn’t in jail.

Uh oh. Hurley raises an eyebrow, SUSPICIOUS --

HURLEY
Then what were you doing sitting
outside a prison? In a cab?

Jacob smiles --

TH
JACOB
I was waiting for you, Hugo.

UMM. WHAT THE FUCK?!? Hurley stares at Jacob, FREAKED --

HURLEY
You’re gonna shoot me, aren’t you?

O
JACOB
Why would I shoot you?

R
HURLEY
(a-ha!)
Oh. Then you’re dead.

JACOB
I’m definitely not dead.
Y
HURLEY
Do you work for Ben?
M

JACOB
I don’t work for anyone.

HURLEY
M

Then what do you want from me?

Jacob looks at him now. Evenly and without judgment --
SA

JACOB
I want to know why you won’t go
back to the island.

And even though Hurley doesn’t know who this man is, he
clearly knows of what he speaks. SO --

HURLEY
Cause that’s what Ben wants. And
since he’s evil, I should do the
opposite. That’s what Sayid said --

(CONTINUED)
 97.
125 CONTINUED: (2) 125

JACOB
-- Sayid changed his mind.
(that stops Hurley)
I took care of that. So why don’t
you want to go back?

And now Hurley thinks. Really THINKS about it. Then --

HURLEY
Because I’m cursed.

TH
JACOB
Is that so?

HURLEY
Uh-huh. Bad things happen to me.
That’s why the plane crashed.
Why... my friends died. Libby.

O
Charlie. And now they visit me.
And I can’t stop it.

Jacob seems to consider that for a moment. Then --

JACOBR
Well... what if you weren’t cursed?
(beat; smiles)
What if you were blessed?
Y
Hurley just stares at him. In shock.

HURLEY
M

What do you mean, “blessed?”

JACOB
You get to talk to the people you
lost. Seems like a pretty
M

wonderful thing to me.

Hurley shakes his head. This optimistic viewpoint a little

difficult to fucking GRASP --
SA

HURLEY
Oh sure. It’s wonderful. Except
for the part where I’m crazy.

JACOB
Well I have some news for you,
Hugo... and you’re going to have to
take my word on this, okay?
(leans forward; sincere)
You’re not crazy.

(CONTINUED)
 98.
125 CONTINUED: (3) 125

ON HURLEY. Emotionally affected by this in ways he cannot

describe. Because that is the first and ONLY time anyone has
ever fucking said that to him.

HURLEY
Uh.... who are you, dude?

But Jacob just SMILES. Taps on the GLASS PARTITION --

JACOB
I’m right up here. On the corner.

TH
The driver nods. Pulls the cab up to a halt. Jacob faces
Hurley. Puts his hand gently on Hurley’s knee --

JACOB (CONT’D)
Ajira Airways. Flight 316 out of
L.A.X. It leaves in twenty-four

O
hours. All you have to do is get
on that plane. But it’s your
choice, Hugo.
(beat; kind)

don’t want to. R

You don’t have to do anything you

And with that, Jacob turns. Opens the door. GETS OUT.
Hurley watching him go, fairly STUPEFIED... Then realizing --
Y
HURLEY
Whoa. Wait. Dude. You forgot
your guitar!
M

But Jacob doesn’t even turn around as he simply calls back --

JACOB
It’s not my guitar.
M

And we HOLD ON Hurley now, looking at that guitar case.

Wondering what the fuck’s inside... but more importantly,
what the HELL JUST HAPPENED TO HIM as we WHOOOOOOOSH TO --
SA

126 EXT. DHARMA VAN - DAY (1977) 126

HURLEY. Helping Sayid drink some water. Sayid is sweating

and laboring to BREATHE. He doesn’t look good AT ALL.

HURLEY
Don’t worry, dude. Everything will
be fine when Jack changes the
future.
(beat)
Or the past.
(MORE)

(CONTINUED)
 99.
126 CONTINUED: 126
HURLEY (CONT'D)
(beat; confused)
One of those.

Jin and Miles watch this from NEARBY. Miles is grim --

MILES
I don’t think your buddy is gonna
make it.

JIN
(not too sure)

TH
He’ll make it.

And that’s when Jack RETURNS. Kate at his side. Miles and
Jin follow them over to where Sayid sits with Hurley. Hurley
looks up, SEES the fucking BEATING Jack took --

HURLEY

O
Dude, what happened to your face?

JACK
Nothing.

R
Hurley reacts. Doesn’t look like nothing. Sayid looks on
also, dazed, having lost a lot of blood, but still cognizant.
Jack PRESSES ON, looks now at ALL OF THEM, knows the CLOCK IS
FUCKING TICKING --
Y
JACK (CONT’D)
Look, I just came from the ridge
where we could see down into the
M

Swan site. Something just happened

down there. They hit something...
(beat)
It’s time for me to go.
M

And Sayid’s under no illusions, knows the main reason why

he’s here. He touches the BOMB with blood slicked hands --

SAYID
SA

It’s all set to go. Careful -- as

I said, it’s rigged to explode on
impact. If Faraday’s plan is
right, you must get this bomb as
close as you can to the source of
electromagnetism.

Jack looks at him with concern and gratitude.

JACK
Sayid... this is gonna work. I can
save you.

(CONTINUED)
 100.
126 CONTINUED: (2) 126

Sayid SMILES, but his eyes are fucking SERIOUS --

SAYID
No one can save me, Jack... But I
appreciate the effort.

Jack NODS, LOOKS AT Kate as he puts the BOMB IN THE RUCKSACK --

JACK
Everybody can stay here. If I go
by myself I can get in there

TH
without attracting any attention...

Now he straps the pack onto his back, READY TO GO --

JACK (CONT'D)
Wish me luck.

O
ON HURLEY. JIN. MILES. SAYID. KATE. This is not a
fucking RAH-RAH moment. They’re all AMBIVALENT. Not exactly
sure this will fucking WORK.

to go, WE UPCUT TO: R

ON Jack as he trades a final look with Kate.

A127 EXT. JUNGLE - PATH TOWARD THE RIDGE - DAY

And as he turns

Jack walks toward the ridge -- and the Swan site -- only to
A127
Y
RUN INTO Sawyer and Juliet, who come out of the jungle on
their way back to the van.
M

Sawyer STOPS IN HIS TRACKS, in effect BLOCKING JACK’S PATH.

They STARE AT EACH OTHER for a long moment as we wonder what

the fuck is going to happen here.
M

Juliet looks between the two of them. Sawyer looks over at

Juliet, then finally STEPS OFF THE PATH and makes a SWEEPING
“YOU GO AHEAD” GESTURE WITH HIS ARM and says to Jack, almost
as a fuck you --
SA

JACK
See you in Los Angeles.

Jack NODS then WALKS ON BY. And OFF SAWYER, marveling at

Jack’s commitment, insane though it might be. And he watches
him walk off...

127 EXT. HILLSIDE NEAR THE SWAN CONSTRUCTION SITE - DAY 127

Jack strides down THROUGH THE JUNGLE with the bomb, picking
his way through the BRUSH moving toward the sounds of WARPED
WHIRRING coming from the DRILL SITE out of sight ahead...
 101.

128 EXT. DRILL SITE - SAME 128

And now we return to the source of the WARPED WHIRRING.

STEAM SPITS ANGRILY from the TEN FOOT WIDE HOLE in front of
the DRILL RIG.

Chang is looking at the GAUGES in DISMAY. Radzinsky strides

over, SHOUTING OVER the WHIRRRRING --

RADZINSKY CHANG
What’s happening? (points to GAUGES)

TH
Stuart, every gauge is red-
lining! The drill is
MELTING.

But if we expect Radzinsky to be concerned, forget it. He’s

excited and FULL OF ANTICIPATION.

O
RADZINSKY CHANG
We’re almost there!
-- We need to shut down and
evacuate!

R
RADZINSKY
We’re not (fucking) shutting down
anything.

And AS THEY CONTINUE ARGUING, we CUT TO --

Y
129 EXT. DHARMA VAN - DAY 129
M

Jin continues to administer to Sayid as WE FIND --

Miles leaning against the Dharma van, ANTSY AS HELL. TURNS

TO Sawyer, who leans beside him. Looking fairly VACANT --
M

MILES
Can I ask you something, LaFleur?

SAWYER
SA

There ain’t no LaFleur anymore,

Enus. But shoot.

MILES
Has it occurred to any of you
people that your buddy is actually
going to cause the thing he says
he’s trying to prevent?
(and then)
So maybe the best thing to do is
(fucking) nothing?

(CONTINUED)
 102.
129 CONTINUED: 129

ON SAWYER. He TRADES LOOKS with Juliet. And Kate. And

Hurley. No... that hadn’t occurred to any of them, actually.

MILES (CONT’D)
Uh huh. Well... I’m glad you all
thought this through.

Sawyer turns to him, not at all in the mood for this, but --

VROOOOOOOOOOOOOM! A distant fucking ENGINE catches their

attention. They all turn towards the sound --

TH
A COUPLE HUNDRED YARDS BELOW THEM

A JEEP RACES down the road toward the Swan site -- we see
ARMED BLACK-JUMPSUITED DUDES -- ALL with RIFLES.

All of our people are on their feet, CONCERNED. Juliet TURNS

O
TO Hurley --

JULIET
What’s going on?

R
HURLEY
It must be the dudes who were
shooting at us back in Dharmaville.

JIN
Y
(turns to Sawyer; fuck)
It’s Phil.
M

ON SAWYER. SHIT. He’s got unfinished business with that

motherfucker. Kate turns to him, WORRIED --

KATE
If they see Jack, they’ll (fucking)
M

kill him.

Yeah, yeah. Sawyer fucking KNOWS. But it’s Juliet he turns

to now. And God -- we LOVE HIM FOR IT --
SA

SAWYER
What do you think, Blondie?

Juliet looks at the man she loves. Then, a gallows SMILE --

JULIET
Live together, die alone.

Sawyer NODS. So fucking be it. Turns to the group --

(CONTINUED)
 103.
129 CONTINUED: (2) 129

SAWYER
Jin, Hugo... you stay here with
Sayid. Rest of you, get your guns
and get in the (fucking) van.

And as the GIACCHINO STARTS TO POUND, readying us for the

dizzying NON-STOP ACTION AWESOMENESS TO COME AS WE CUT TO:

130 EXT. SWAN CONSTRUCTION SITE - DAY 130

Phil speeds up in the jeep to the DRILL RIG and jumps out

TH
with HIS MEN. His arrival breaks up the ARGUMENT between
Radzinsky and Chang.

RADZINSKY
Good for you. You got here fast.

PHIL

O
Any sign of them yet?

RADZINSKY
No, not yet. You’ve got time to

R
set up a perimeter.

Chang can’t believe he’s hearing all this --

CHANG
You called these men to the site?
Y
We need to be getting people away
from here!
M

A131 EXT. EDGE OF SWAN CONSTRUCTION SITE - SAME A131

CLOSE ON Jack. At the TREE LINE, now observing. He SEES

Phil and his men MAKING PLANS with Radzinsky. SHIT. Now
what?
M

He SPOTS a DHARMA VAN about twenty yards in front of him.

And he’s GOT A FUCKING MISSION. He decides he can make it

SA

there -- because right now nobody’s paying attention to

anything but themselves. He takes a DEEP BREATH and RUNS!

As he CUTS ACROSS THE OPEN GROUND --

B131 EXT. SWAN CONSTRUCTION SITE - CONTINUOUS B131

Phil senses something and turns, goes WIDE-EYED, THEN --

PHIL
There!
And he raises his RIFLE and SHOOTS! BANG! BANG!

(CONTINUED)
 104.
B131 CONTINUED: B131

Jack DODGES THE BULLETS and ducks behind a Dharma van.

Radzinsky turns and SCREAMS at Phil --

RADZINSKY
Get him!

Phil orders HIS MEN --

PHIL
Flank him! Flank him! We got him!

TH
Maybe so, maybe NOT. Because that’s when --

131 EXT. SWAN CONSTRUCTION SITE - CONTINUOUS 131

A DHARMA VAN COMES SPEEDING INTO THE SWAN SITE. It RACES

toward the drill area. Radzinsky turns and reacts...

O
RADZINSKY
Who’s this?

BANG! BANG! BANG! BANG!

R
But before Phil can answer, the Dharma van SKIDS TO A STOP
and Sawyer, Miles, Kate and Juliet jump out and START FIRING.

THEY ALL EXCHANGE GUN FIRE!

Kate and Juliet each DROP ONE OF PHIL’S MEN. Phil and his
Y
remaining TWO MEN RETURN FIRE! Radzinsky and his drill guys
DUCK BEHIND THE DRILL GEAR as MORE BULLETS FLY!
M

They all take up defensive positions and TRADE FIRE --

Except for Sawyer...

132 EXT. SWAN CONSTRUCTION SITE - DAY 132

M

In the COMMOTION, he TAKES OFF RUNNING. Staying low to the

ground, RUNNING ON THE FLANK. Using BARRELS and Phil’s jeep
and DRILL EQUIPMENT for COVER...
SA

He SNEAKS AROUND BEHIND THEM.

CLOSE ON PHIL as BULLETS ZING AROUND HIM. He DUCKS behind

the DRILL TOWER for better cover when he hears --

SAWYER
DROP IT!

Phil freezes. FUCK. He slowly turns TO SEE Sawyer with a

gun trained on him from behind.

(CONTINUED)
 105.
132 CONTINUED: 132

SAWYER (CONT’D)
Put it down now, Phil, or you’re a
dead man.

Phil drops his gun and Sawyer GRABS HIM FROM BEHIND --
HOLDING HIM HOSTAGE. USING HIM as a HUMAN SHIELD, he marches
him forward --

SAWYER (CONT’D)
Tell them all to drop their guns.

TH
Phil is no hero, so he SHOUTS TO EVERYBODY --

PHIL
Drop your guns! Drop your guns!

His remaining TWO MEN throw down their guns. The drill
workers are unarmed. They all step out with their arms up.

O
All the gunfire stops.

And so now Sawyer YELLS out --

R
SAWYER
You can come out now, Doc!

Jack emerges from behind the Dharma van with the backpack.

SAWYER (CONT’D)
Y
Hurry up and do your business!

AND ON JACK. SURPRISED Sawyer of all people is fucking

M

HELPING. HE MOVES TOWARD the HOLE --

133 RADZINSKY AND CHANG 133

Look on quizzically, not knowing what the fuck is going on

M

here. The DRILL WHIIIUURRRS even WORSE, and there’s a new

METALLIC GRINDING topping it off.

SAWYER
SA

(SHOUTS over to Chang)

And turn that damn thing off!

Chang could not be happier to get that order. He runs over

to the MAIN CONTROL SWITCH and THROWS IT OFF.

But nothing happens.

HUH? The DRILL KEEPS GRINDING. Chang now opens the ADJACENT
SUB PANEL and THROWS ALL THOSE SWITCHES OFF. Still nothing.
SAWYER (CONT’D)
What’s the matter?

(CONTINUED)
 106.
133 CONTINUED: 133

CHANG
It won’t shut down.

He looks at the GAUGES with SERIOUS WORRY.

SAWYER
Why not?

CHANG
Something’s pulling the drill down!

TH
RADZINSKY
(knowing)
We hit the pocket!

FUCK IT. Sawyer can’t be bothered with that right now. All
that matters is Jack completing his mission...

O
THE GIACCHINO SWELLS as Jack strides right up TO THE MOUTH OF
THE HOLE and takes off the backpack. It’s the fucking MOMENT
OF TRUTH. Sawyer and Jack meet eyes. Jack takes out the
BOMB...

R
Then hesitates, struck by the momentousness of the moment.
But Sawyer? He’s got a very fucking FRAGILE CONTROL over the
situation right now -- and God knows for how long --

SAWYER
Y
C’mon, Doc! What are ya waitin’
for?! Do it!
M

Jack looks over at Kate. SHE NODS at him. And Sawyer looks
to Juliet. She stares back proudly at him...

Jack realizes there’s nothing left but to do it. And AS THE

GIACCHINO CRESCENDOS -- he takes the BOMB and THROWS IT IN
M

THE HOLE!!!!!!!!!!!!!!!!!!!!!

WE WATCH IT DROP, VANISHING FROM SIGHT INTO THE DEPTHS.

SA

Jack CLOSES HIS EYES expecting a massive explosion, except --

It DOESN’T HAPPEN.

Nothing happens. WHAT THE FUCK?!?!??? Jack opens his eyes

and they all TRADE a round of LOOKS... Kate, Jack, Juliet
and finally Sawyer --

SAWYER (CONT’D)
This don’t look like LAX.

NOPE. But before this revelation can linger, the

WHIIIUUUIRRRRING NOISE RISES IN PITCH --

(CONTINUED)
 107.
133 CONTINUED: (2) 133

And the DRILL TOWER COLLAPSE, BUCKLING IN ON ITSELF --

CRASHING DOWN -- A CHUNK OF THE SUPERSTRUCTURE LANDING PART
WAY OVER THE MOUTH OF THE HOLE!

A134 CHANG SCREAMS A134

BECAUSE AS THE TOWER FALLS -- HIS HAND IS TRAPPED IN THE

STRUCTURE. MASHED. PINNED. TRAPPED IN THE CRUMPLED METAL!
Miles RUNS OVER to help him...

134 AND NOW ALL HOLY FUCKING HELL BREAKS LOOSE! 134

TH
Everything METAL STARTS GETTING DRAGGED TOWARD THE HOLE!

Small things FLY BY FIRST: TOOLS, TOSSED DOWN GUNS, SMALL

PIECES OF PIPE, LOOSE METAL...

Radzinsky realizes this is NOT GOOD -- and NOT WHAT HE

O
EXPECTED. He YELLS OVER THE WHIIIIINING NOISE FOR HIS
WORKERS TO GET THE FUCK OUT OF THERE --

RADZINSKY

135
RUN!!!

BIG OBJECTS TO MOVE

R
And now the unleashed electromagnetic forces cause --

135
Y
PIPING SLIDES AND CRASHES AND JAMS UP ON ITSELF. Meanwhile --

136 MILES 136

M

Manages to FREE HIS FATHER’S HAND, but it is BADLY CRUSHED

AND DAMAGED.

MILES
M

Get away from here! Get as far

away from here right (fucking) now.
CHANG
SA

What about you?!?

Miles thinks for a second, then answers, EMOTION overwhelming

him as ALL HELL CONTINUES TO BREAK LOOSE --

MILES
You already took care of me, Dad.
(then; hardening)
Now GO.

And Chang, bad hand and all, HEEDS HIS SON’S ADVICE. They
share a meaningful look, and then Chang turns and BOLTS.
 108.

137 RADZINSKY 137

And his men TRY TO EVACUATE. They run and jump into Phil’s
JEEP but before they can speed away --

THE JEEP IS TOWED BACKWARDS BY THE ELECTROMAGNETIC FORCE, and

they realize they’re NOT GOING ANYWHERE. They ALL BAIL OUT
AS SMASSSHHHH! -- the JEEP CRASHES INTO THE METAL REMNANTS OF
THE DRILL TOWER, getting all tangled up with it.

But that doesn’t stop them. Radzinsky YELLS TO HIS MEN --

TH
RADZINSKY
Everybody fall back! Get out of
here! Go! Go! Go!!!

And Radzinsky and his team take off -- RUNNNING AWAY ON FOOT.

O
138 JACK 138

Sees things going from BAD TO WORSE. He YELLS at Miles --

here? Go!
JACK
R
Miles! What the hell are you doing

And now Jack TURNS TO SEE where Kate is when -- WHOOMPHHH! --

HE’S HIT IN THE BACK OF THE HEAD AND NECK WITH A FLYING TOOL
Y
CHEST. And he GOES DOWN. OUT COLD.

SAWYER
M

Sees this and reacts --

SAWYER
Doc?!
M

And that’s when Juliet SCREAMS (O.S.). Sawyer spins TO SEE --

JULIET. Tangled in some METAL CHAINS used for securing pipe,

SA

which wrap around her waist and legs. The ELECTROMAGNETIC

FORCES KNOCK HER TO THE GROUND AND TOW HER TOWARD THE HOLE!

As Sawyer reacts, Phil PUSHES AWAY FROM HIM!

He SEES JULIET’S RIFLE chasing after her on the ground. It

passes right by Phil’s foot, and he STOMPS ON IT. He picks
it up and turns on Sawyer --

PHIL
Hey, LaFleur! You were a lousy
boss!

(CONTINUED)
 109.
138 CONTINUED: 138

FUCK. Sawyer realizes Phil is about to pull the trigger...

When a FLYING PIECE OF REBAR TWIRLS THROUGH THE AIR AND

THWAACCKKK! -- IMPALES PHIL RIGHT THROUGH THE CHEST!

Phil looks down in disbelief before FALLING OVER DEAD.

Fuck Phil. Sawyer takes off running after Juliet as she’s

TOWED TOWARD THE HOLE. He catches up to her at the last
minute and DIVES as --

TH
139 EXT. MOUTH OF THE HOLE - SAME 139

Her legs skid over the mouth of the hole and she FALLS ONTO
THE COLLAPSED DRILL TOWER INFRASTRUCTURE.

Sawyer GRABS HER HAND and YELLS --

O
SAWYER
HANG ON! I got you!

Now someone else reaches INTO FRAME and GRABS Juliet’s OTHER
ARM --
R
IT’S KATE! They both scramble onto the TEETERING METAL
SUPERSTRUCTURE with the HORRIFIC GRINDING, WHIRRING NOISE
RISING FROM BELOW as they try to brace themselves -- each
holding one of Juliet’s arms...
Y
SAWYER (CONT’D)
I GOT HER! YOU TRY AND GET THE
M

CHAINS OFF!

But Kate is precariously HANGING ON herself --

KATE
M

I... CAN’T!!

KA-CHUNK -- the metal beams they are on SETTLE DOWN FURTHER.

Their grips SLIP. Sawyer YELLS at Juliet to hang on --
SA

SAWYER
Dammit, don’t let go!

But Juliet realizes it ain’t very likely. Her hand slips

further down his arm. And Kate is straining and CRYING --

KATE
I can’t hold her...

THE PULL IS STRONG. Sawyer slides further down the metal

structure. KAA-THUNK! -- the metal BUCKS AGAIN and Kate’s
hands now falls away. Kate SHOUTS at Sawyer.

(CONTINUED)
 110.
139 CONTINUED: 139

KATE (CONT’D)
DON’T LET HER GO!

Sawyer is SWEATING AND STRAINING, and Juliet realizes what’s

about to happen. Surprisingly CALM --

JULIET
It’s okay...

SAWYER
No. I got you!

TH
Then she simply looks into his face and says --

JULIET
I love you, James...

As her fingers one-by-one slip from his grasp...

O
AND SHE FALLS AWAY... DISAPPEARING DOWN THE HOLE -- Sawyer
SCREAMING as she falls --

JULIET!!! R
SAWYER

BOOM.
Y
END OF ACT TEN
M
M
SA
 111.

ACT ELEVEN

140 EXT. FOOT STATUE - NIGHT (LATE 2007) 140

Behold...

THE FUCKING FOOT.

BOOMING AROUND IT in all its moonlit glory as we gradually

DROP TWENTY FEET, dipping past the twelve-foot high PEDESTAL
on which it rests until we finally reach BEACH LEVEL where --

TH
Alpert leads his band of Others by torchlight along the beach
to the BASE. A few steps behind him, Locke looks up at the
majesty of the sculpture with quiet reverence.

BEHIND them, amongst the group, we find Ben and Sun. He’s
INTENSE, mind reeling. Absorbing the task before him as she

O
takes in the FOOT...

SUN
What happened to the rest of the
statue?
R
BEN
I don’t know. It was like this
when I got here.
Y
SUN
(eyes him; skeptical)
Do you expect me to believe that?
M

And Ben can’t muster the energy to say anything other than --

BEN
Not really.
M

DRIFTING BACK UP TO Alpert now -- his face knotted in concern

as the group REACHES the PEDESTAL. He leans over -- SHHHHK --
plants his torch in the ground. Turns to Locke, SERIOUS --
SA

ALPERT
You sure you need to do this, John?
If you waited, Jacob would
eventually come to y--

LOCKE
-- I’m tired of waiting.

No vehemence. No anger. No sense that this very same man is

about to fucking KILL as he asks --

(CONTINUED)
 112.
140 CONTINUED: 140

LOCKE (CONT’D)
Where is he, Richard?

ON ALPERT. Clearly, he has no fucking choice here. And so,

after a beat, he TURNS --

Walks right up to the PEDESTAL. Runs his hand along the area
between two carved RIDGES until we hear a SLIGHT POP -- and
now Alpert PUSHES, revealing --

A HIDDEN ENTRYWAY. Narrow. DARK INSIDE. Alpert turns back

TH
to Locke now, GESTURES inside --

ALPERT
Tell him I said hello.

ON LOCKE. His excitement building. Turns back to the CROWD,

singling out Ben --

O
LOCKE
All right, Ben. Let’s go.

R
ON BEN, his face like the kid who’s just been picked by the
teacher to solve a math problem on the fucking CHALKBOARD as
he grudgingly moves towards Locke --

But Alpert INTERCEPTS him, NOT SO FUCKING FAST --

Y
ALPERT
What do you think you’re doing?
M

BEN
(even)
John wants me to join him.

ALPERT
M

(turns to Locke; angry)

You can’t bring him in.

LOCKE
SA

Why not?

ON ALPERT, frustrated now. He’s been ordered around ENOUGH --

ALPERT
Because only our leader can request
an audience with Jacob. And there
can only be one leader on the
island at a time.

Locke steps forward now. Don’t let the slightly amused gleam
in his eyes fool you -- he’s fucking CHALLENGING Alpert --

(CONTINUED)
 113.
140 CONTINUED: (2) 140

LOCKE
I’m beginning to think you just
make these rules up as you go
along, Richard.

Alpert holds Locke’s eyes. Doesn’t back down. And neither

does fucking Locke --

LOCKE (CONT’D)
I’m bringing Ben in with me. And
if that’s a problem?

TH
(beat; measure)
I’m sure Jacob and I will be able
to work it out.

A beat. Another beat. And finally, Alpert’s eyes DO drop.

And even though he ain’t fucking HAPPY about it... HE STEPS
ASIDE. Locke allows himself a satisfied smile. NODS to Ben,

O
who dutifully walks past Alpert to join him.

And now, we’re CLOSE ON Locke as he turns towards the Others,

who watched every moment of this with rapt attention as he
calmly says --
R
LOCKE (CONT’D)
I’ll be right back.

And with that, Locke enters the PASSAGEWAY. After a moment,

Y
and with one last look at Alpert (is that... COMMISERATION?),
Ben FOLLOWS and we CUT INSIDE:
M

A141 INT. FOOT PEDESTAL - NIGHT - CONTINUOUS A141

GIACCHINO THRUMS as Locke moves down a STONE CORRIDOR. Not

as DUSTY as it should be... an almost out of place
CLEANLINESS. An ORANGE GLOW emanates from the far end as --
M

Ben follows. His face a mixture of nervous anticipation and

outright fucking FEAR. And just as they reach the end of the
corridor, Locke STOPS. Turns to Ben --
SA

LOCKE
Will you be able to do this, Ben?

ON BEN. And we can see the same thing that Locke does --
that he isn’t fucking SURE about this at fucking ALL.

And Locke is UNDERSTANDING of his apprehension. Keeps his

voice low as he puts his hand on Ben’s shoulder --

LOCKE (CONT’D)
I know it won’t be easy...
(then; heartfelt)
(MORE)

(CONTINUED)
 114.
A141 CONTINUED: A141
LOCKE (CONT’D)
But things will change once he’s
gone. I promise.

And now, Locke reaches down, removes the HUNTING KNIFE from
his backpack. Offers it to Ben, HILT OUT.

PUSHING IN ON BEN NOW -- the moment of fucking TRUTH. A

beat. Another. And as he finally reaches out and TAKES the
knife from Locke’s hand, we SMASH CUT TO:

141 EXT. FOOT STATUE - NIGHT - CONTINUOUS 141

TH
ON SUN. Sitting on the beach. Looking out at the crashing
waves as she sits beside a GINORMOUS FOOT and wondering how
the fuck she GOT HERE.

ALPERT (O.S.)
Water?

O
Sun looks up as Alpert stands over her, offers his CANTEEN --

SUN

He looks at her.

No.
R
Do you have any alcohol?

She SMILES.

ALPERT
A joke.

But I sure wish I did.

He smiles back --
Y
Unfortunately, this wonderful bonding moment is broken by the
sound of MOVEMENT AT THE TREE LINE --
M

And Alpert REACTS instantly. AS DO the twenty Others around

them... every one instinctively leaping to their feet,
drawing their fucking GUNS AND RIFLES at the JUNGLE --
M

A BEAT as we begin to see the BRUSH MOVE -- the FLICKER of

approaching TORCHLIGHT and then...

Ilana, Bram, Lapidus and the MOOKS carrying the CRATE emerge
SA

from the jungle.

The CLICKING of a dozen SAFETIES as the Others PREPARE to

blow them off the fucking planet...

But Ilana just steps forward, completely FEARLESS -- holds

her RIFLE above her head --

ILANA
Don’t shoot -- it’s okay... It’s
all right...

(CONTINUED)
 115.
141 CONTINUED: 141

Sun spots Lapidus. He raises his hand, offers a half-smile

as if to say -- Don’t fucking ask --

Ilana gently lays the rifle down on the sand, SHOWS her hands
as she addresses the entire group --

ILANA (CONT’D)
Which one of you is Ricardus?

”Ricardus?” What the fuck is up with THAT? Well... Alpert

sure as hell seems to know. He steps forward, INTRIGUED --

TH
ALPERT
It’s Richard, actually.

Ilana is a little DUBIOUS. Sizes him up. And then --

ILANA

O
What lies in the shadow of the
statue?

Alpert reacts. The fact that this mysterious woman’s asked

R
him that QUESTION causes a whole lot of mental tumblers to
fall into place. He then calmly responds --

ALPERT
Ille qui nos omnes servabit.
Y
Yeah. That was LATIN. And Ilana allows herself a small
smile for YES, that is EXACTLY THE RIGHT ANSWER. Ilana NODS,
satisfied --
M

ILANA
Richard. I’m Ilana.
(then; serious as fuck)
I have something you need to see.
M

Alpert moves forwards. Taking her in. Checks out Bram.

Lapidus. And THE CRATE. Ilana nods to Bram --
SA

ILANA (CONT’D)
Open it up.

Bram reaches for the crate, drawing some more NERVOUS GUN-
COCKING from the Others, but Alpert holds up his hand...

ALPERT
It’s okay. Let them.

And we MILK THIS FOR ALL IT’S FUCKING WORTH. Because last
time we didn’t get to see what was inside that goddamned
thing, but we’re almost at the end now, folks, so there ain’t
no hiding it anymore as the GIACCHINO THUMPS...

(CONTINUED)
 116.
141 CONTINUED: (2) 141

Following Bram as he OPENS the crate -- HOLDING ON Alpert as

he curiously observes -- Sun throws a look to Lapidus, what
the hell is going on here? -- and now, with the crate open,
Bram simply TIPS IT OVER...

And a BODY thumps facedown onto the sand. And it appears to

be wearing... a SUIT.

Bram steps forward now, NUDGES it with his foot, turning it

over so we can see who the fuck it IS...

TH
But before we do, we see Alpert REACT. Shocked. He looks up
at Ilana... HEAD SPINNING --

ALPERT (CONT’D)
Where... did you find him?

ILANA

O
In the cargo hold of the plane we
came here on.
(and then)
Inside a coffin.

R
Wait a minute. She can’t mean? And now, the camera TWISTS
AND BOOMS down to the sand so that we finally SEE -- and
JESUSGOODGODINHEAVENFUCKING CHRIST...

It’s John Locke. DEAD as a fucking doornail.

Y
Wait. WHAT? How the...? This doesn’t make any fucking...?
M

And we HOLD ON Sun, more CONFUSED than anything else.

Speaking on behalf of our entire fucking AUDIENCE as she
turns to Alpert and says --

SUN
M

I don’t understand -- if this... if

this is Locke?
(turns towards the foot)
Then who’s in there?
SA

The Giacchino fucking TURNS now -- DARK, OMINOUS and SCARY as

Ilana and Bram share a LOOK. Then, she turns to Alpert, HARD
AS FUCK as she says --

ILANA
He’s here?

And OFF ALPERT, shitting fucking BRICKS we SMASH CUT TO:

142 INT. FOOT - NIGHT 142

Locke ENTERS a FIRELIT CHAMBER.

(CONTINUED)
 117.
142 CONTINUED: 142

Ben walks a few paces behind him -- FEAR and REVERENCE etched
on this face as he takes in the VAST SPACE, lit by --

MOONLIGHT cascading through a large crack in the pedestal and

the FLAMING FIRE PIT at the center of the room.

The furnishings are simple, bordering on NON-EXISTENT. But a

few things we DO take note of as Locke continues to walk
inside are the intricate SPINNING WHEEL and LOOM...

And now Locke looks down, sees he is walking over a MASSIVE

TH
TAPESTRY. Ornate and beautiful... covered in PICTOGRAMS...
(We catch glimpses of GREAT WARS... DESTRUCTION... Rather
unsettling IMAGES all.) He approaches the FIRE PIT.

TRACKING BEN as he looks at a SIMILAR TAPESTRY that adorns

one of the WALLS. The pictures here seem to indicate much
HAPPIER IMAGES -- many people looking to the sky with their

O
hands held aloft, basked in a GREAT LIGHT...

VOICE (O.S.)
Do you like it?

R
Ben STARTS -- turn towards that VOICE to see --

Jacob emerging from the darkness at the far end of the room.
And Ben? Is fucking SPEECHLESS.
Y
JACOB
I did it myself.
(then; smiling)
M

It takes a very long time when

you’re making your own thread, but
I suppose that’s the point, isn’t
it?
M

Ben still doesn’t know quite what to say to that -- clearly

STARSTRUCK -- but Locke is not having that problem at all.
He steps forward, CONFIDENTLY --
SA

LOCKE
Hello, Jacob.

Huh. Locke said that not as if this was a man he were

meeting for the first time... but almost as if he KNEW him.

And Jacob steps forward now. Gives Locke a nice, long look.
SQUINTS his eyes slightly in recognition.

And it’s hard to read his expression exactly, but he is both

IMPRESSED and SURPRISED at the same time as he says --

(CONTINUED)
 118.
142 CONTINUED: (2) 142

JACOB
Well. You found your loophole.

Wait. WHAT? What the FUCK did he just say? “Loophole”?

Why is that fucking WORD ringing a bell? But Locke seems to
know exactly what Jacob is talking about as he NODS --

LOCKE
Indeed I did.
(then)
And you have no idea what I’ve gone

TH
through to be here.

Ben REACTS... like us, not exactly sure what the fuck is
going on here. Looks to Locke, CONFUSED --

BEN
Have you... met before?

O
And Locke never fucking takes his eyes off Jacob --

LOCKE

R
In a manner of speaking.

Jesus. Christ. ALMIGHTY. Our brains HURT from the

implication, but we’ll have to put the pieces together
fucking LATER. For now, Locke finally DOES address Ben --
Y
LOCKE (CONT’D)
Do what I asked you to, Ben.
M

ON BEN. Shit. Looks down at the KNIFE he holds in his hand.

ON JACOB. Still retaining the CALM demeanor we’ve grown used

to... but there is a SADNESS in him now as he turns to Ben --
M

JACOB
Benjamin. Whatever he told you, I
want you to understand one thing.
(beat; then)
SA

You have a choice.

Ben BLINKS. Not sure what to make of that. Then, SOFTLY --

BEN
What... “choice”?

Jacob walks towards Ben now, FEARLESS --

JACOB
You can do what he asked. Or you
can go. Leave us to discuss our...
(turns to Locke;
(MORE)

(CONTINUED)
 119.
142 CONTINUED: (3) 142
JACOB (CONT'D)
how to put this?)
Issues.

Jacob stops just a few feet from Ben, who now LOOKS TO Locke.
His eyes are set. Impassive. But he says nothing. Ben
turns back to Jacob... and we start to hear the RAW FUCKING
EMOTION in his voice as he responds --

BEN
So now... after all this time...
you’ve finally decided to stop

TH
ignoring me.

Jacob just stands there as Ben now takes a step forward.

ANGER RISING --

BEN (CONT’D)
I lived on this island for thirty-

O
five years, and all I ever heard
was your name. Over and over
again. Richard gave me
instructions from you, brought me

R
slips of paper, lists... and never
did I question it. I did what I
was told. And whenever I wanted to
see you myself? I was told to
wait. To be patient.
Y
And we KNOW he’s angry because he’s so uncharacteristically
fucking CONTAINED. So QUIET. Ben points to Locke now --
M

BEN (CONT’D)
But when he asked to see you, he
gets marched up here like he’s
(fucking) Moses.
M

Ben gets close now. IRE BURNING --

BEN (CONT’D)
So why him? What’s wrong with me?
SA

(voice rising; HURT)

What about me?!?

And Jacob just looks at him. Completely even. And then, not
without genuine PITY --

JACOB
What about you?

And that does it.

It’s ABRUPT. SHOCKING. Ben raises the knife, and with one
measured fucking MOTION...

(CONTINUED)
 120.
142 CONTINUED: (4) 142

He STABS Jacob RIGHT IN THE FUCKING HEART.

And for those of you who thought this man might not be
mortal... that he can’t be hurt? Well... the blood pouring
down his CHEST seems to indicate otherwise.

Jacob STAGGERS back... takes a KNEE. GASPING. He looks up

at Ben -- not all together surprised... but DISAPPOINTED.

And now, he turns to Locke... COUGHS BLOOD as he whispers

something BARELY AUDIBLE...

TH
Locke steps forward now. Puts his ear next to Jacob’s mouth
as he asks --

LOCKE
What? I can’t hear you.

O
And now we’re SUPER CLOSE ON THEM. Oddly INTIMATE as Jacob
repeats his words. And we HEAR them clear as day --

JACOB
They’re coming.
R
And Locke’s eyes WIDEN. We see something in them something
unfamiliar since he came back to “life” -- and it is FEAR.

But now, Jacob CRUMPLES to the ground. FETAL. Fucking DEAD.

Y
Locke rises, the fear TRANSFORMING INTO ANGER as he put his
foot under Jacob’s body -- NUDGES it forwards. Jesus
Christ... right into the fucking --
M

FIRE PIT. And with a WHOOOOOOOOOOSH of flames as the body

suddenly IMMOLATES... no chance whatsoever that he survives
that. Jacob is fucking GONE FOR GOOD.
M

And we SLOWLY PUSH IN ON LOCKE -- or IS it fucking Locke?!?

As the FLAMES dance in his fucking COLD DARK EYES AND WE
FINALLY WHOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOSH TO:
SA

143 OMITTED 143

144 EXT. DRILL SITE - DAY (1977) 144

CLOSE ON Jack. Lying UNCONSCIOUS on the ground.

His eyes flicker open. As the world comes back INTO FOCUS
his head fills with the horrible ELECTROMAGNETIC WHINNNNNNGGG
NOISE. He looks over and SEES Kate and Sawyer hanging on the
dangling, rocking section of the DRILL PLATFORM.

(CONTINUED)
 121.
144 CONTINUED: 144

Jack climbs to his feet and stumbles toward them. He SEES

the collapsed tower and PILED PIPE and maneuvers around the
wreckage so that he can --

Clamber out ONTO THE PLATFORM, which is CREEAKKKKING and

TEETERING DANGEROUSLY. He YELLS OVER THE NOISE --

JACK
KATE! Give me your hand!

Kate, dazed, reaches up and grabs him. He braces himself and

TH
pulls her up. As she climbs past him to safety, he now yells
to Sawyer --

JACK (CONT’D)
Sawyer!
(nothing)
Sawyer!

O
Sawyer looks over, PANICKED --

SAWYER

R
Juliet’s down there!

Jack takes that in. FUCK. SHIT.

EMPTINESS. OH FUCK. Then --

JACK
Looks down into that BLACK
Y
(full of sorrow)
There’s nothing we can do for
her...
M

The platform CREEE-AAKKKKS and settles again! Now it’s

nearly hanging vertical! Jack realizes what’s gonna happen --

JACK (CONT’D)
M

C’mon, Sawyer, get off -- it’s not

gonna hold!

And that’s finally enough to get Sawyer to move. He climbs

SA

up the structure as the metal GROANS AND MOANS.

Jack grabs Sawyer’s arm and helps him up and they both climb
off TO SAFETY and as they scramble free of the toppled tower,
the METAL GROANS IN PROTEST ONE FINAL TIME --

AND then COLLAPSES -- PLUNGING DOWN THE HOLE!

145 INT. DRILL SHAFT - DAY 145

And... WE FOLLOW THE TANGLE OF DRILL TOWER METAL DOWN THE

HOLE! RUSHING WITH IT AS IT FALLS 230 FEET AND --
KERRRRASSHHH! SMASHES INTO STONE AND WATER AT THE BOTTOM!
 122.

146 INT. BOTTOM OF THE HOLE - DAY 146

The DUST AND WATER SETTLES and we see lots of metal.

And now the CAMERA RACKS FOCUS TO FIND --

JULIET. Who just missed being crushed by the falling beams.

She’s lying in a shallow pool of the water -- the water
pumped into the hole to cool the drill...

As the CAMERA TRACKS CLOSER TO HER DEAD BODY. HOLDING ON IT.

TH
And then SHE GASPS! Holy shit! HER EYES OPEN UP. She is
critically hurt, but somehow STILL ALIVE.

And lying near her is the UNEXPLODED NUCLEAR BOMB.

GIACCHINO PLAYS for all he’s fucking worth as Juliet looks

O
over at the BOMB. And now a look of TOTAL DETERMINATION
crosses her face.

And she starts DRAGGING HERSELF TOWARDS IT. Toward the BOMB.

R
PAINFULLY. INCH BY FUCKING INCH. Using all of her remaining
strength. Blood trickles from her mouth...

She winces, obviously in tremendous pain, as she PICKS UP A

ROCK and makes A DECISION, a decision to FINISH THE FUCKING
MISSION.
Y
Juliet gathers herself, drawing on her last reserves. She
takes the rock and STARTS POUNDING ON THE NOSE OF THE
M

CYLINDER. BAM! BAM! BAM!

The EFFORT makes her COUGH UP BLOOD. TEARS STREAM DOWN HER
FACE as she YELLS AT THE BOMB --
M

JULIET
C’mon, please...!

BAM! BAM! Using everything she’s got left -- BAM!

SA

JULIET (CONT’D)
C’mon, you sonofabitch! C’mon!
Come --

WAAAAAAAA-BOOOOOOOOOOOOOOOOOOM!

The CAVERN FLASHES WHITE. And THE SCREEN WASHES OUT.

AND now the NOISE OF THE EXPLOSION SLOWLY WASHES AWAY UNDER
GIACCHINO’S CRESCENDO-ING SCORE as we --

SMASH TO BLACK.
 123.

147 OMITTED 147

148 OMITTED 148

BOOM.

END OF SEASON FIVE

TH
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Y
M
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SA