601- "how This Ends"

“HOW THIS ENDS”

Written by Thunderstorm

June 21, 2009 Disclaimer: This is purely fan fiction.

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Estimated reading time: 20-25 minutes.

"HOW THIS ENDS" ACT ONE: AN EYE OPENS. IT’S DARK AND WE HEAR PRONOUNCED BREATHING. WE PAN BACK AND CLEARLY RECOGNIZE JACK. HE IS LAYING ON HIS BACK, INDOORS AND IN A BED, WHEN WE SUDDENLY HEAR A VOICE: FEMALE VOICE: JACK, WHAT’S THE MATTER? A LAMP SWITCHES ON TO ILLUMINATE THE ROOM, WE ARE STILL FOCUSED ON JACK, BREATHING HEAVILY AND EYES WIDE, HE TURNS HIS HEAD TOWARDS THE VOICE. WE NOW SEE HER FACE. IT IS SARAH. SARAH: DID YOU HAVE A BAD DREAM? JACK IS ABSOLUTELY BEFUDDLED AT THE SIGHT OF HER, HE SPRINGS TO HIS FEET STARING AT HER AS IF HE WERE LOOKING AT A GHOST. HE IS DUMBSTRUCK, SHAKING HIS HEAD FROM SIDE TO SIDE. SARAH: HONEY, WHAT’S WRONG? WHY ARE YOU LOOKING AT ME LIKE THAT? JACK: (STAMMERING) I… I… I DON’T KNOW WHAT’S HAPPENING. SARAH: YOU HAD A BAD DREAM AND YOU NEED TO LAY BACK DOWN AND GET TO SLEEP. YOU HAVE IMPORTANT WORK TO DO IN THE MORNING. JACK: THIS CAN’T BE HAPPENING, THIS ISN’T REAL! SARAH: (ROLLING OVER TO GO BACK TO SLEEP) TURN THE LIGHT OFF WHEN YOU’RE FINISHED, JACK. JACK DARTS INTO THE NEXT ROOM, WE NEXT SEE HIM TURNING ON A LIGHT. HE’S IN THE KITCHEN. WE A SHOT OF THE MICROWAVE, THE CLOCK READS “1:42 AM” HIS EYES BECOME FIXED ON A WALL, WHERE A TELEPHONE HANGS, HE THEN LOOKS DOWN TO THE TABLE. A NEWSPAPER IS SITTING WITHIN ARMS REACH. HE PICKS IT UP AND BEGINS TO READ. JACK: (QUIETLY TO SELF) JULY 22ND TWO THOU…(HIS VOICE DROPS OUT, INCOMPLETING THE THOUGHT BUT AS VIEWERS WE ARE ABLE TO SEE THAT YESTERDAY’S NEWSPAPER READS “JULY 22ND, 2002”) A LOOK OF COMPLTE SHOCK FALLS OVER HIS FACE, HE DROPS THE NEWSPAPER AND LOOKS BACK AT THE WALL. HE TAKES A FEW STEPS AND PICKS UP THE TELEPHONE FROM THE WALL. HE PAUSES, SUDDENLY UNDERSTANDING THE GRAVITY WHAT MIGHT BE HAPPENING OR WHAT HE MIGHT BE ACTUALLY DOING. HE THEN HANGS UP THE PHONE.

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CUT TO: WE ARE NOW CLEARLY BACK ON THE ISLAND. THE CAMERA SWOOPS DOWN FROM TREETOP LEVEL TO FOCUS IN ON A PAIR OF LEGS OUTSTRETCHED FROM THE BASE OF A TREE. WE THEN SEE THE PERSON FROM THE FRONT. IT’S OUR RESIDENT IRAQI. HE’S BLEEDING FROM HIS GUT, HIS EYES ARE WEARY AND HE APPEARS TO BE NEAR LOSING CONSCIOUSNESS. HE HEARS GUNSHOTS FROM AFAR (WE THEN ARE SHOWN A FEW SCENES FROM ‘THE INCIDENT’ AFTER HURLEY ARRIVES IN THE VAN). BACK ON SAYID, HE STRUGGLES TO HIS FEET, TAKES A FEW STEPS AND IS MET BY A STRANGE MAN, WHO HAS APPEARED FROM SEEMINGLY NOWHERE. STRANGE MAN: IF YOU WANT TO LIVE, YOU NEED TO COME WITH ME. SAYID: WHO ARE YOU? STRANGE MAN: WHAT YOU SAW… THE REASON YOU’RE HERE? (THIS SEEMS TO REGISTER WITH SAYID) I KNOW AND I UNDERSTAND. IN A FEW MINUTES SOMETHING IS GOING TO HAPPEN AND IF YOU DON’T COME WITH ME RIGHT THIS MOMENT, YOU, SAYID JARRAH, WILL DIE. SAYID: (WEAKLY) I CAN BARELY WALK. STRANGE MAN: YOU WON’T NEED TO WALK ANYWHERE. I JUST NEED YOUR PERMISSION. SAYID: (BECOMING EMOTIONAL) PERHAPS IT’S BETTER IF I DIE. PUT AN END TO THIS MISERY. STRANGE MAN: YOU’VE SUFFERED BECAUSE YOU’VE WROUGHT SUFFERING. ASK ME TO ASSIST YOU, AND I WILL AND YOU WILL LIVE. IT IS YOUR CHOICE. SAYID: I’VE SEEN THIS. I KNOW HOW IT ENDS. STRANGE MAN: YES, YOU HAVE. BUT YOU CAN CHOOSE. SAYID: THIS THING, THAT’S ABOUT TO HAPPEN. IT’S THE ONLY WAY I WILL TRULY BE SAVED. YES, I WAS ABLE TO SEE AND NOW, I TRULY SEE. I WILL DIE OR I WILL BE REBORN. STRANGE MAN: A MAN CANNOT BE BORN TWICE. SAYID: THEN HE CANNOT DIE TWICE.

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CUT TO: SCENES FROM ‘THE INCIDENT’. KATE AND JACK ARE STRUGGLING TO PULL SAWYER AWAY FROM THE DRILLING SITE. JIN EMERGES FROM BEHIND THE THREE OF THEM. JACK NOTICES HIM, TURNS TO JIN AND COMMANDS HIM. JACK: JIN, GET HER OUT OF HERE!! GET HER AWAY FROM HERE!! JIN APPEARS TO AGREE AND GRABS KATE FROM BEHIND, WRAPPING HIS ARMS AROUND HER WAIST, SHE CONTINUES SCREAMING AS HE PULLS HER AWAY FROM THE SITE. HURLEY ASSITS JIN AS THEY MOVE KATE SEVERAL YARDS AWAY. JACK STOPS STRUGGLING WITH SAWYER AND BEGINS TO PLEAD WITH SAWYER IN A RESERVED TONE. JACK: SAWYER, I’M SORRY. I’M SORRY BUT SHE’S GONE. SAWYER SITS DEFEATED AND QUIET. HE’S RESOLVED HIMSELF TO HER FATE. HE ‘ALLOWS’ JACK TO PULL HIM TO HIS FEET AND THEY BOTH BEGIN TO HURRY AWAY FROM THE SITE. JACK WITH HIS ARM AROUND SAWYER’S SHOULDER. WE THEN CUT TO A TIGHT SHOT OF THE BOTH OF THEM. SAWYER: (DEFLATINGLY) I GOT NO REASON TO LIVE, DOC. SHE’S DEAD. BECAUSE OF YOU. IF YOU HADN’T-A CAME BACK, NONE OF THIS WOULDA HAPPENED. JACK: SAWYER, I’M SORRY (PAUSES) THIS WAS SUPPOSED TO HAPPEN. SAWYER: (INCREDULOUSLY) WHAT? WHAT WAS SUPPOSED TO HAPPEN? WE THEN HEAR A STRANGE NOISE. THE WHITE LIGHT ENVELOPS THE SCREEN. THE BOMB HAS JUST GONE OFF. THE WHITE SCREEN DISOLVES BACK IN AND WE SEE A SHOT OF A CALM OCEAN FROM THE POINT OF VIEW OF THE SHORE. AS WE PAN OVER, WE SEE PEOPLE ON THE BEACH, WE SEE A BUILDING, CLEARLY WE ARE IN A CITY. THE CAMERA PULLS ALL THE WAY BACK, WE SEE THE PERSON WHO’S POINT OF VIEW WE WERE WITNESSING. IT’S CHARLES WIDMORE. DRESSED IN A BUSINESS SUIT, AND STANDING IN FRONT OF SOME HOTEL ROOM DOORS, HE CHECKS HIS WATCH. “8:15 AM”. LOOKING UP HE MOVES OVER A FEW DOORS AND STOPS. HE THEN KNOCKS. AFTER A MOMENT OF PAUSE, WE BECOME FIXED ON CHARLES’ FACE AS THE DOOR IS ANSWERED.

4 CHARLES: GOOD MORNING, I’M SORRY IT’S SO EARLY BUT I’D REALLY LIKE TO HAVE A WORD WITH YOU. MALE VOICE: WHO ARE YOU? CHARLES: MY NAME IS MR. CHARLES AND I’M FROM AN ORGANIZATION BASED IN ENGLAND. (SHOWS A PHONY CREDENTIAL) I HAVE SOMETHING VERY IMPORTANT I NEED TO DISCUSS WITH YOU, IF YOU COULD JUST ALLOW ME A MOMENT OF YOUR TIME. YOU SEE, I KNOW SOMETHING THAT COULD BE OF GREAT INTEREST TO YOU. I THINK I CAN HELP YOU... FIND YOUR FATHER. THE CAMERA CUTS TO THE YOUNG MAN WHO ANSWERED THE DOOR. IT’S WALT. LOST TITLE CARD ACT TWO: WE OPEN WITH A SHOT OF A CLOCK. IT’S “3:16 AM” ON THE MICROWAVE, WE’RE BACK IN JACK AND SARAH’S KITCHEN. HE’S BEEN IN THAT CHAIR STEWING FOR AN HOUR AND A HALF, DECIDING WHAT HE SHOULD DO. SUDDENLY A VOICE IS HEARD, OFF SCREEN. SARAH: WHAT ARE YOU DOING IN HERE, MR SHEPHARD? JACK: (AT A LOSS FOR WORDS, HE SCRAMBLES TO SAY SOMETHING COHERENT) UH, I’M, UH, JUST READING THE PAPER. SARAH: I THOUGHT YOU ALREADY READ IT, BESIDES, THAT COULDN’T WAIT UNTIL THE SUN COMES UP? JACK: (CAUTIOUSLY) WHAT IF I TOLD YOU...? (CHUCKLES TO SELF) FORGET IT, I’TS JUST CRAZY. SARAH: (ENDEARINGLY) I GO CRAZY AND I CAN’T SLEEP WHEN YOU AREN’T IN BED WITH ME. (PUTS ARMS AROUND JACK, JACK MELTS) I HAD TO GET UP TO SEE WHAT YOU WERE DOING. ARE YOU ALRIGHT, JACK? JACK: I CAN’T BELIEVE YOU’RE HERE. I DON’T WANT TO MAKE THE SAME MISTAKES THAT I... SARAH: MISTAKES? (PLAYFULLY) JACK, YOU’RE PERFECT. I DIDN’T KNOW THE GREAT DR. JACK SHEPHARD WAS EVEN CAPABLE OF MISTAKES? JACK: (TO SELF, SEEMINGLY) I GUESS IT WORKED.

5 SARAH: WHAT WORKED? CONVINCING ME THAT YOU’RE PERFECT? WELL I BELIEVE THAT YOU TRY TO BE PERFECT. AND THAT MAKES YOU A GOOD MAN. MAYBE UNREALISTIC, BUT A GOOD MAN. JACK: NO, IT’S... I WANT THINGS TO BE DIFFERENT. I WANT YOU TO ALWAYS WANT TO BE WITH ME. SARAH: I’LL ALWAYS BE WITH YOU, JACK SHEPHARD. WHY WOULDN’T I? JACK: WELL, WHATEVER THOSE REASONS WOULD BE. I THINK THEY’RE GONE. JACK KISSES HER AND WE CUT TO: WE’RE INSIDE OF A HOTEL ROOM. CHARLES WIDMORE SITTING AT A TABLE WITH WALT AND HIS GRANDMOTHER. CHARLES: YOUR SON, MICHAEL. I BELIEVE HE’S GONE BACK TO A PLACE THAT IS VERY DIFFICULT TO FIND. IT’S A SECRETIVE PLACE. AND I BELIEVE I CAN FIND HIM FOR YOU AND WALTER. BUT I NEED WALTER’S HELP. I NEED YOU TO LET YOUR GRANDSON COME WITH ME. GRANDMA DAWSON: I DON’T KNOW ANYTHING ABOUT YOU OR THIS. YOU COME IN HERE, OFFERING THIS MONEY, SAYING CRAZY THINGS ABOUT THIS PLACE THAT NOBODY CAN FIND, HOW CAN I TRUST YOU WITH MY GRANDSON? WHY WOULD WALT EVEN BE ABLE TO HELP YOU? CHARLES: DO YOU WANT TO TELL HER WALTER? OR SHOULD I? WALT: HE’S RIGHT, GRANDMA. I KNOW THE PLACE HE’S TALKING ABOUT. WHEN YOU USED TO GET MAD AT DAD, FOR NOT TELLING YOU WHERE WE WERE? WELL WE WERE AT THIS PLACE. AND I THINK DAD IS THERE. CHARLES: YOU’RE RIGHT WALTER. YOUR FATHER IS ALMOST CERTAINLY THERE. (TO GRANDMA) BUT WE CAN’T TELL ANYONE ABOUT THIS. I CAN ONLY PROMISE TWO THINGS MRS. DAWSON. ONE, THAT WALTER WILL BE AS SAFE WITH ME AS HE IS WITH YOU AND TWO, THAT IF ANYONE EVER FINDS OUT WHERE HE (POINTS TO WALT) WENT, IT WOULD BE TROUBLE FOR US ALL. GRANDMA: I THINK THIS IS CRAZY. YOU CAN’T EVEN TELL ME WHERE THIS PLACE IS? CHARLES: I CAN’T BECAUSE IT’S NOT SAFE TO KNOW IT’S LOCATION. GRANDMA: NOT SAFE? AND YOU WANT ME TO LET HIM GO WITH YOU? UH-UH, NO WAY. YOU CAN GO NOW MR. CHARLES. CHARLES: SO BE IT, IT’S YOUR CHOICE TO MAKE.

6 AS CHARLES WALKS TO THE DOOR, WALT ESCORTS HIM. AS HE TAKES A STEP OUT, HE TURNS BACK AND SPEAKS TO WALT IN A HUSHED VOICE. CHARLES: WALTER, IF YOU SHOULD FEEL THE NEED TO FIND YOUR FATHER ON YOUR OWN, HERE IS A NUMBER YOU CAN REACH ME. I’LL BE IN L.A. FOR A WHILE. HE HANDS WALT A HAND WRITTEN CARD WITH A PHONE NUMBER AND THE NAME CHARLES WRITTEN ON IT. HE THEN LOOKS UP TO ADDRESS GRANDMA DAWSON WHO IS BACK FURTHER IN THE ROOM. CHARLES: ENJOY YOUR DAY MRS. DAWSON, I SHALL BE HEADING BACK TO MY ISLAND SOON. (CUT OF WALT’S REACTION) YOU SHOULD COME VISIT ENGLAND. IT’S A LOVELY PLACE. WE NEXT CUT TO THE ISLAND, IT’S NIGHT AND WE FIRST SEE RICHARD ALPERT, STANDING WITH A TORCH IN HAND, WAITING OUTSIDE OF THE PLITH OF THE TAWERET STATUE. SUN AND ILANA APPROACH FROM BEHIND RICHARD. SUN: (VERY CONCERNED)RICHARD, WHAT ARE WE GOING TO DO? RICHARD: I’M GOING TO HAVE A DISCUSSION WITH THESE TWO MEN ONCE THEY COME OUTSIDE. YOU NEED TO GO BACK DOWN THERE AND WAIT. SUN: PLEASE, RICHARD, WHAT IS HAPPENING? WHY ARE THERE TWO JOHN LOCKES? RICHARD: THERE AREN’T TWO JOHN LOCKES, SUN. NOW, PLEASE JUST GO BACK DOWN THERE AND WAIT UNTIL I CAN SPEAK WITH THEM. ILANA: IS IT HIM? RICHARD: I CAN’T ANSWER THAT, NOT YET. BUT YOU SHOULD GO WITH HER. THIS IS SOMETHING THAT I HAVE TO HANDLE BY MYSELF. ILANA: WHAT ARE YOU GOING TO DO? RICHARD: I’M GOING TO FIND OUT WHO OUR NEW LEADER IS.

ACT THREE:

7 WE ARE IN A SHOPPING MALL, JACK AND SARAH ARE LOOKING FOR FABRICS FOR THEIR HOME. JACK: WAS THIS THE “IMPORTANT WORK” I HAD TO DO IN THE MORNING? SARAH: OF COURSE, THIS IS VERY IMPORTANT, JACK, TO GET THE RIGHT FABRICS IS VERY IMPORTANT. YOU SEE THESE JACK? (SHOWS HIM SOME PARTICULAR FABRICS) THESE THREADS ARE METICULOUSLY WOVEN, HIGH QUALITY STUFF RIGHT THERE. JACK: YEAH AND I CAN SEE THEY COME AT A PRICE. SARAH: EVERYTHING COMES AT A PRICE, YOU JUST HAVE TO GET WHAT YOU WANT AND YOU CERTAINLY GET WHAT YOU PAY FOR. JACK: YEAH, YOU GET WHAT YOU PAY FOR, ALRIGHT. I KNOW HOW THIS ENDS, I’VE SEEN IT. YOUR GONNA COST ME AN ARM AND A LEG. SARAH: WE HAVE TO GO BY THE MARKET TOO, I NEED TO GET STUFF FOR HAMBURGERS. JACK: YEAH? WE HAVING BURGERS TONIGHT? SARAH: NO, FOR THIS WEEKEND. YOUR FATHER AND YOUR MOTHER ARE COMING BY, DON’T YOU REMEMBER? JACK: MY FATHER... SUDDENLY JACK IS REMINDED OF HIS FATHER BEING ALIVE. HIS FACE IS FLUSH WITH EMOTION. JACK: I ALMOST CALLED HIM THIS MORNING. COULDN’T GO THROUGH WITH IT. SARAH: SINCE WHEN IS YOU CALLING YOUR FATHER ANY BIG DEAL? JACK: SINCE THIS MORNING I GUESS. JUST, HAD A BAD DREAM THAT’S ALL. SARAH: WELL, YOU KNOW YOUR FATHER LOVES YOU, HE JUST DOESN’T KNOW HOW TO SAY IT. JACK: YEAH, WELL I GUESS IT’S TIME I FIXED THAT.

CUT TO: CHARLES WIDMORE IS SITTING IN A LIMOUSINE.

8 HE ANSWERS HIS CELL PHONE. HE THEN COMMANDS HIS DRIVER. CHARLES: PULL UP THERE, HE’S HERE. THE LIMO IS SHOWN FROM THE OUTSIDE DRIVING UP, WE CAN SEE THAT WE ARE AT THE AIRPORT. IT’S NIGHTTIME. CUT TO BACK INSIDE THE LIMO WE ARE FIXED UPON CHARLES’ FACE. CHARLES: RIGHT HERE, THERE HE IS. THE WINDOW LOWERS TO REVEAL WALTER LLOYD. CHARLES: I THINK YOU’VE MADE A VERY WISE DECISION YOUNG MAN. WALT: I CAN’T STOP HAVING THESE DREAMS, UNLESS I GO BACK. CHARLES: WELL MAKE NO MISTAKE, WE’RE GOING BACK. AND YOU CAN FIND YOUR FATHER. WALT: IF YOU CAN HELP ME FIND MY FATHER AND HELP ME STOP THESE DREAMS, THEN I GUESS I JUST HAVE TO TRUST YOU, MR. CHARLES. CHARLES: YOU CAN TRUST ME WALT. (OPENS THE LIMO DOOR) I’M ONE OF THE GOOD GUYS. WALT STEPS IN THE LIMO AND WE THEN CUT TO A CREEPY LOOKING PLACE. AFTER A MOMENT, WE REALIZE WE ARE INSIDE JACOB’S LAIR. BEN IS SEEN STANDING MOTIONLESS AND APPEARS TO BE IN DEEP CONTEMPLATIVE THOUGHT. OFF SCREEN WE HERE A VOICE. FLOCKE: I WANT TO THANK YOU FOR WHAT YOU’VE DONE. (BEN THEN TURNS TO ACKNOWLEDGE HIM) WHAT COURAGE IT TOOK FOR YOU KILL JACOB. YOU HAVE SERVED THIS ISLAND WITH ALL OF YOUR SOUL. YOU WILL BE REWARDED. BEN: SO, WHAT DOES THAT MEAN? REWARDED? FLOCKE: IT MEANS BEN, YOU HAVE YOUR POSITION BACK. YOU ARE THE LEADER OF THOSE PEOPLE OUT THERE. BEN: I DON’T UNDERSTAND, I THOUGHT YOU WERE THE LEADER, JOHN? I’VE BEEN... BEFORE BEN CAN COMPLETE HIS THOUGHT FLOCKE INTERUPTS. FLOCKE: I’M NOT JOHN. A LOOK OF CURIOUSITY AND WORRY FALLS OVER BEN’S FACE.

9 ACT FOUR: IT’S EVENING AT JACK AND SARAH’S PLACE. JACK IS SITTING ON THE SOFA WATCHING A BASEBALL GAME. THE RED SOX ARE PLAYING THE TAMPA BAY DEVIL RAYS. SARAH COMES IN. SARAH: BASEBALL AGAIN? YOU’RE LIKE A BROKEN RECORD, JACK. JACK: HEY, THIS IS A BEAUTIFUL THING. YOU ONLY GET TO SEE THIS ONCE IN A LIFTIME. LOOK AT THAT SCORE. THERE IS A CUT TO THE SCREEN AND THE RED SOX ARE BEATING THE DEVIL RAYS 22-4 IN THE 9TH INNING. JACK: THAT’S A SCORE YOU DON’T SEE VERY OFTEN. MAYBE THE CURSE WILL BE BROKEN AFTER ALL. SARAH: YOU WISH. I’M GOING TO TAKE A SHOWER, WANNA COME? JACK: YEAH, I’LL BE IN THERE IN A MINUTE, FIRST I’M GOING TO CALL MY DAD. (PAUSES) SEE IF HE WAS WATCHING THIS CRAZY GAME. SARAH: OK, SEE YOU SOON THEN. SARAH LEAVES THE ROOM AND WE CHANGE SCENES. BACK INSIDE JACOB’S LAIR, BEN IS A LITTLE TAKEN ABACK. BEN: WHAT DO YOU MEAN YOU’RE NOT JOHN? FLOCKE: I MEAN, MY NAME IS NOT JOHN. BUT THAT’S NOT WHAT’S IMPORTANT AT THIS VERY MOMENT, BEN. RIGHT NOW, I’M GOING TO NEED YOU TO DO WHAT YOU DO BEST. BEN: AND WHAT’S THAT? FLOCKE: I’M GOING TO NEED YOU TO LIE. YOU’RE GOING TO GO OUT THERE AND TELL RICHARD THAT WE CAME IN HERE AND JACOB WAS NOWHERE TO BE FOUND. BEN: AND WHAT IF HE DOESN’T BELIEVE ME? FLOCKE: SINCE WHEN DID YOU LOSE THE ABILITY TO TELL BELIEVABLE LIES? (BEN LOOKS ALMOST ASHAMED) FLOCKE: LOOK BEN, I WAS HONEST WITH YOU, I’M NOT JOHN LOCKE BUT WHEN WE GO OUTSIDE, THE PEOPLE OUT THERE ARE GOING TO HAVE A BIG ISSUE WITH ME. THEY ARE GOING TO NEED TO KNOW THAT I AM JOHN LOCKE. SO I’LL NEED YOU TO TELL TWO LIES. DO YOU THINK YOU CAN HANDLE THAT?

10 BEN: AND IN RETURN, I GET TO LEAD THE ISLAND? FLOCKE: ABSOLUTELY. BEN: (WITH ANTIPATION) THEN LET’S GO. WE CUT TO THE INSIDE OF A PLANE, WALT WALKS SLOWLY UP THE AISLE. THE PLANE IS NEARLY EMPTY WITH JUST A FEW PEOPLE IN THE BACK AND THE CREW UP FRONT. CHARLES IF OFF SCREEN. CHARLES: WALTER, MAKE YOURSELF COMFORTABLE. I’LL COME BACK LATER AND WE CAN HAVE A CHAT. IN THE MEANTIME, I’VE GOT BUSINESS TO ATTEND WITH THE PILOT. WALT TURNS AND HEADS TOWARDS THE REAR OF THE PLANE. HE NOTICES SOMEONE SITTING A FEW ROWS AWAY, WE CUT BACK TO WALT’S FACE AS HE WALKS, APPROACHING THE PASSENGER. HE THEN SPEAKS BEFORE WE SEE WHO HE’S TALKING TO. WALT: HELLO. MY NAME IS WALT. FEMALE VOICE: (FLATLY) HELLO WALT, MY NAME IS PENELOPE. THE PASSENGER IS THEN REVEALED AS PENNY HUME. ACT FIVE: WE ARE BACK IN JACK AND SARAH’S KITCHEN. A SHOT OF THE MICROWAVE REVEALS THAT IT’S “11:16PM”. JACK HAS BEEN UP FOR NEARLY 24 HOURS. HE WALKS TO THE WALL WITH THE PHONE AND STOPS. SUDDENLY SARAH RUSHES BACK IN, WET FROM THE SHOWER. SARAH: ARE YOU COMING OR NOT? I ALREADY WASHED MY HAIR. JACK: YEAH, SURE, JUST GIVE ME FIVE OR TEN MINUTES. CLEARLY APREHENSIVE ABOUT THE CALL, HE WALKS OVER TO THE PHONE PICKS IT UP AND DIALS. WE CUT TO THE PLANE, WALT HAS TAKEN A SEAT NEAR PENNY. WALT: SO, DO YOU KNOW MR. CHARLES? PENNY: YEAH, UNFORTUNATELY I DO. “MR. CHARLES” IS MY FATHER. WALT: SO ARE YOU GOING WITH US? TO THE ISLAND?

11 PENNY: I’M AFRAID SO. I SUPPOSE YOU WERE ON THE PLANE? WALT: FLIGHT 815? YEAH, ME AND MY DAD. BUT THEN WE LEFT. PENNY: WELL, LET ME TELL YOU SOMETHING WALT, WHATEVER IT WAS THAT MY FATHER TOLD YOU TO GET YOU ON THIS PLANE, IT PROBABLY WASN’T THE TRUTH. WALT: MR. CHARLES TOLD ME I COULD FIND MY DAD AGAIN. PENNY: WELL, I WOULDN’T HOLD MY BREATH. “MR. CHARLES” WIDMORE HAS AN AGENDA ALL HIS OWN. WE SEE A SHOT OUTSIDE THE TAWERET STATUE. RICHARD STANDS WAITING FOR THE TWO MEN TO COME OUT AND EXPLAIN THEMSELVES. SUDDENLY BENJAMIN LINUS EMERGES. RICHARD STEPS FORWARD AND BEN ADDRESSES HIM. BEN: JACOB WAS GONE. WE LOOKED ALL OVER. RICHARD: “GONE”? WHAT DO YOU MEAN, “GONE” BEN: AS IN, WAS NOT THERE, RICHARD. FLOCKE EMERGES NEXT BEHIND BEN. RICHARD GLARES AT HIM. FLOCKE: SO, IT SEEMS THAT OUR JACOB IS QUITE ELUSIVE. WHY WOULD HE HIDE FROM US, RICHARD? RICHARD DOESN’T RESPOND TO FLOCKE, INSTEAD HE TURNS TO BEN. RICHARD: YOU NEED TO KNOW SOMETHING, BEN. WHATEVER HAPPENED IN THERE... YOU NEED TO KNOW THAT THIS MAN IS NOT JOHN LOCKE. BEN: I KNOW IT’S HARD TO BELIEVE, RICHARD BUT THIS IS JOHN LOCKE. BACK FROM THE DEAD, I SHOULD KNOW BECAUSE I KILLED HIM. RICHARD: WHAT YOU NEED TO KNOW, BEN, IS THAT DOWN THERE ON THE BEACH THERE IS A BODY. A DEAD BODY. AND THAT BODY DOWN THERE IS THE MAN YOU KILLED, JOHN LOCKE. BEN: WELL THEN, WHO IS HE? A SHOT OF A GRINNING FLOCKE AS THE SCENE ENDS.

ACT SIX:

12 BACK AT THE STATUE, THE CONVERSATION CONTINUES. FLOCKE: WHY DON’T YOU TAKE ME TO THIS BODY, RICHARD? RICHARD DOESN’T RESPOND TO FLOCKE BUT AGAIN TURNS TO BEN. RICHARD: YOU NEED TO SEE IT FOR YOURSELF? BEN: I DON’T NEED TO SEE ANYTHING BUT I BELIEVE WE HAVE SOME BUSINESS TO ATTEND TO IN FRONT OF THE WHOLE GROUP. SHALL WE? THE THREE OF THEM WALK DOWN TO THE BEACH AREA WHERE JOHN LOCKE’S DEAD BODY LIES. THE WHOLE GROUP IS THERE, FRANK, SUN, ILANA, BRAM, ALL OF THEM. FLOCKE WALKS DIRECTLY TO THE BODY. FLOCKE: SO, HOW ABOUT THAT? I LOOK JUST LIKE MYSELF. ILANA: ARE YOU GOING TO SUGGEST THAT YOU AND THIS MAN ARE THE SAME PERSON? FLOCKE: LET’S ASK RICHARD. RICHARD, WHEN I TOOK YOU INTO THE WOODS EARLIER TO RUN AN ERRAND, WHAT DID YOU SEE? RICHARD REFUSES TO RESPOND TO FLOCKE. FLOCKE: BEN, WHY DON’T YOU TELL THE GROUP WHAT YOU AND RICHARD SAW? BEN: I SAW TWO JOHN LOCKES. AND SO DID RICHARD, DIDN’T YOU? RICHARD: THE MAN I SAW OUT THERE WAS JOHN LOCKE. BUT THIS PERSON, THIS ISN’T JOHN LOCKE. FLOCKE: THEN WHAT AM I? A VOICE PIPES UP FROM THE GROUP. BRAM: YOU ARE HIM. FLOCKE LOOKS A LITTLE SURPRISED TO SEE THIS MAN. ILANA: AND YOU’VE DONE SOMETHING WITH JACOB, HAVEN’T YOU? FLOCKE: I’VE NEVER EVEN SEEN JACOB, LADY. ILANA: BRAM, LET’S GET THE PEOPLE AND GO. RICHARD: WHERE ARE YOU GOING?

13 ILANA: WE ARE GOING TO THE SHADOW. ILANA, BRAM AND HER GROUP LEAVE, SUN STEPS FORWARD TO RICHARD. SUN: WHAT IS THE SHADOW? RICHARD: IT’S HOW ALL THIS ENDS. THE SCENE SWITCHES BACK TO JACK IN HIS KITCHEN. HE HOLDS THE PHONE TO HIS EAR, IT’S RINGING, RINGING AND RINGING AND AFTER THE FOURTH RING... CHRISTIAN: HELLO JUST THE SOUND OF HIS VOICE MAKES JACK GET EMOTIONAL. HE IS BARELY ABLE TO KEEP HIMSELF COMPOSED. JACK: DAD? CHRISTIAN: JACK? WHAT ARE YOU CALLING AT THIS HOUR FOR? IS SOMETHING WRONG? AS JACK SEARCHES FOR THE RIGHT WORDS, HE WALKS ACROSS THE KITCHEN FLOOR. HE IS DISTRACTED BY THE CONVERSATION AS HE APPROACHES A WET SPOT ON THE FLOOR THAT SARAH HAD LEFT AFTER COMING IN FROM THE SHOWER. JACK: DAD? I JUST WANTED TO CALL AND...I JUST WANTED TO CALL AND SAY... AS JACK IS SEARCHING FOR THOSE WORDS HE STEPS ON THE SLICK SPOT IN THE KITCHEN FLOOR, HE FALLS AND HITS HIS HEAD ON A NEARBY TABLE. THE SCREEN GOES BLACK WE CAN HEAR A VOICE WITH NO IMAGES. FEMALE VOICE: JACK? JACK? JACK, ARE YOU OKAY? THE SCREEN FADES BACK IN TO AN EYE OPENING. AS THE CAMERA PANS OUT, WE SEE IT'S JACK. WITH A BLOODIED FACE. WE THEN HEAR THE VOICE ONE MORE TIME. FEMALE VOICE: JACK, ARE YOU ALRIGHT? THE LOOK ON JACK’S FACE TELLS IT ALL. WE PAN OUT, WE SEE JACK HAS ON HIS DHARMA JUMP SUIT. WE HEAR THE VOICE ONE LAST TIME, ONLY THIS TIME WITH THE FACE ATTACHED TO IT. KATE: JACK, ARE YOU OKAY? YOU LOST CONSCIOUSNESS FOR A MINUTE THERE.

14 JACK IS OBVIOUSLY IN COMPLETE SHOCK, WHEN HE HEARS ANOTHER FAMILIAR VOICE FROM OFF SCREEN APPROACHING HIM, HURLEY KNEELS DOWN CLOSE. HURLEY: DUDE. I THINK WE’RE BACK. THE HOLE IN THE GROUND, AFTER THE SWAN IMPLODED? IT’S THERE. JACK: (DISTRAUGHT) SOMETHING JUST HAPPENED TO ME. ONE LAST VOICE FROM OFF SCREEN RINGS OUT. MALE VOICE: YOU TOO? IT’S SAWYER. LOST

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