605- "the Big Secret"

“THE BIG SECRET”

Written by THUNDERSTORM

DISCLAIMER: Purely Fan Fiction No Infringements Intended

Episode V JUNE 28, 2009

"THE BIG SECRET" ACT ONE: A CRACKLING CAMPFIRE AT NIGHTTIME. PEACEFUL AND SERENE, WE CUT OVER TO SEE SUN SITTING SQUARELY IN FRONT OF JIN, HE’S SITTING BEHIND WITH HIS ARMS WRAPPED AROUND HER IN A CLOSE EMBRACE. HE WHISPERS IN HER EAR, QUIETLY WITH AFFECTION. JIN: I CAN’T BELIEVE IT’S BEEN THREE YEARS. SUN: (SMILING) FEELS LIKE THIRTY. JIN: (IN KOREAN) I WILL NEVER LEAVE YOU AGAIN, I PROMISE. SUN: (STILL SMILING, IN KOREAN) I LIKE TO HEAR YOU SPEAK ENGLISH. DON’T YOU NEED THE PRACTICE, ANYWAYS? JIN: I PRACTICED TO KEEP BUSY. (SMILES) STILL NOT PERFECT. SUN: I CAN’T WAIT UNTIL YOU CAN SEE HER. SHE’S BEAUTIFUL. JIN: (SERIOUS) SOON. I WILL SEE JI YEON SOON. A VOICE FROM THE OTHER SIDE OF THE FIRE IS HEARD. FRANK’S VOICE: SUN. SUN AND JIN BOTH LOOK UP TO SEE FRANK AND THEN STAND. FRANK: NO, NO, DON’T GET UP. IT’S JUST, I HAVE TO GO. (TO SUN) I WAS ONLY STAYING UNTIL YOU WERE SAFE. AND NOW THAT JIN’S BACK, I HAVE RESPONSIBILTIES ELSEWHERE. I HAVE BEEN DERILECT IN MY DUTIES AS A PILOT. I’M GOING BACK TO THE OTHER ISLAND AT DAYBREAK. SUN: ARE YOU SURE YOU MUST LEAVE? DO YOU KNOW IF IT’S SAFE? FRANK: HONESTLY, I HAVE NO CLUE BUT MY PLANE IS SITTING IN THAT JUNGLE OVER THERE AND ALL MY PASSENGERS ARE PROBABLY WONDERING WHAT I’M DOING TO GET THEM RESCUED. JIN: (SINCERE) THANK YOU FOR STAYING WITH SUN, FRANK. JIN REACHES OUT TO SHAKE HIS HAND. FRANK: (SHAKES HAND) SURE, IT’S BEEN MY PLEASURE. A VOICE FROM BEHIND FRANK IS HEARD. ILANA’S VOICE: IF YOU MUST GO, YOU SHOULD KNOW SOMETHING. FRANK, JIN AND SUN ALL TURN TO LISTEN TO ILANA. ILANA: THE IMPOSTER? (FRANK NODS) HE WILL SOON LOOK TO BE RID OF THAT PROBLEM. FRANK: (CONFUSED) PROBLEM?

2 ILANA: THE PEOPLE FROM YOUR PLANE ARE HIGHLY EXPENDIBLE. THEY ALSO CREATE A SECURITY RISK FOR HIM, SHOULD THEY ESCAPE, THEN ALL CONTROL IS LOST. FRANK: (CURIOUS) SO, WHAT? HE’S GONNA SEND SOME FOLKS OVER THERE TO SHOOT EVERYBODY OR WHAT? ILANA: IF HE GETS THE ‘KEY’, THEN HE WON’T NEED TO. HE WOULD JUST DO WHAT ALWAYS HAPPENS, AND EVERYONE OUTSIDE OF THE TEMPLE IS EXTERMINATED. JIN: WHAT IS THIS “KEY”? ILANA: EVIDENTLY IT’S HUGO REYES. JIN: (WORRIED) WHAT WILL HAPPEN TO HIM, WHAT DOES IT MEAN? ILANA: THIS “KEY” IS THE VESSEL FOR THE PERSONIFICATION OF JACOB. JACOB WOULD HAVE NEEDED PERMISSION, OF A SORT, TO ENTER THIS PERSON. TRANSMIGRATE HIS SOUL INTO HIM AT A POINT NEAR DEATH. FRANK: (DEADPAN) YEAH. THAT’S JUST WHAT I WAS THINKING. SUN: (TO JIN) RICHARD GAVE ME HIS NAME. JIN: (PUZZLED)JACOB? (SHAKING HEAD, THEN STICKING TO WHAT’S IMPORTANT)HURLEY...HUGO, WASN’T NEAR DEATH. ILANA: HE MUST HAVE BEEN OR RICARDUS IS WRONG. JIN: NO, I WAS WITH HIM THE WHOLE TIME. THEN AFTER WE CAME BACK...AND UNTIL I LEFT FOR HERE, HE WAS FINE. ILANA: AND RICHARD CAME TO SEE YOU, AFTER HE SPOKE TO YOUR WIFE AND TOLD HER THE NAME? JIN NODS AFFIRMATIVE. SUN: (AGREEING) RICHARD TOLD JIN HOW TO GET HERE. ILANA: (VERY DISAPPOINTED) THEN HE’S WRONG. SO, I GUESS I’M LEAVING TOO. (PAUSE) BEFORE IT’S TOO LATE. THIS SCENE ENDS AND JACK IS SHOWN LOADING A GUN, A WIDER PERSPECTIVE REMINDS US WHERE HE WOULD BE, IN THE TUNNELS. VARIOUS ‘OTHERS’ HANG IN THE BACKGROUND AS RICHARD APPROACHES TO CHAT WITH HIM. RICHARD: I’VE GOT TO LET YOU IN ON A FEW SECRETS, JACK. YOU’VE BEEN HERE LONG ENOUGH, PAID YOUR DUES. JACK: (SMILING) WELL, IF I’M GONNA BE OF ANY HELP TO YA, I PROBABLY NEED TO KNOW WHAT I’M DOING. RICHARD: (SMILES) RIGHT. (DIRECT) THERE IS A SEMI-CIRCULAR PASSAGEWAY ON THE OUTSIDE THAT CONNECTS ALL THESE TUNNELS. THERE ARE 8 MAIN CORRIDORS OFF OF THAT PASSAGEWAY. ALL OF THEM CONVERGE AT THE TEMPLE. FOUR OF THEM ARE PERMANENTLY BLOCKED AND HAVE BEEN FOR A LONG TIME. YOU CAN THANK DHARMA

3 FOR THAT. BUT HERE IS THE MOST PERTINENT INFORMATION. TWO OF THEM ARE UNBLOCKED. ONE LEADS TO AN AREA YOU’VE ALREADY BEEN, THIRTY YEARS AGO. JACK: THE BARRACKS? RICHARD: YES, BUT THAT CORRIDOR MOVES ON FOR A WHILE PAST THE BARRACKS. FIVE OF MY MEN ARE GOING THAT ROUTE. CONSIDER THAT THE FLANK. THIS OTHER CORRIDOR TAKES US EVEN CLOSER, THAT’S YOU AND ME, WE’LL HAVE HELP FROM THREE OF MY BEST MEN. JACK: SOUNDS GREAT BUT THAT’S ONLY SIX. WHAT ABOUT THE OTHER TWO CORRIDORS? RICHARD: THOSE ARE BLOCKED BY THE THING YOU CALL “THE SMOKE MONSTER”. (JACK IS TAKEN ABACK). THEY BOTH LEAD TO THE MOST PROTECTED PLACES ON THIS ISLAND. JACK: WHAT IS IT? RICHARD: (RHETORICAL) THE PLACES OR THE “SMOKE MONSTER”? THE PLACES ARE THE SECOND LEVEL OF THE TEMPLE AND THE WHEEL CHAMBER. (JACK LOOKS CONFUSED BUT SAYS NOTHING) ASK BEN ABOUT ‘THE WHEEL CHAMBER’ NEXT TIME YOU SEE HIM. THE SECOND LEVEL OF THE TEMPLE...WELL THAT’S GROUND ZERO. THAT’S WHERE WE WOULD FIND HIM. THAT’S WHERE WE’RE EVENTUALLY HEADED. JACK: (GRINNING) I DON’T GET ANYTHING ON THE “SMOKE MONSTER”? RICHARD: IT’S COMPLICATED BUT I’LL TELL YOU MORE THAN YOU KNOW NOW. RIGHT AFTER WE GET ON THE MOVE. JACK NODS AND RICHARD THEN WALKS OFF TO HIS MEN IN THE BACKGROUND. THE CAMERA STAYS ON JACK AS HE LOOKS AROUND THE PLACE. NERVOUS WITH ANTICIPATION, HE PEERS DOWN ONE OF THE TUNNELS INTO THE VAST BLACK, WHICH SUDDENLY MERGES INTO: LOST TITLE CARD ACT TWO: RESUMING ACTION WITH RICHARD AND JACK SEE THAT JACK AND RICHARD ARE WELL ON TORCHES IN HAND, AND TRAILED BY THREE INCLUDING ‘GABE’ WHOM WE MET IN EP. 3 CONVERSE AS THEY WALK. RICHARD TAKING

IN THE TUNNELS. WE NOW THEIR WAY SOMEWERE, OF RICHARD’S BEST MEN. OF THIS SERIES. THEY THE LEAD.

JACK: SO, YOU WANT TO TELL ME ABOUT THE SMOKE MONSTER? RICHARD: I CAN’T IMAGINE WHAT IT MUST BE LIKE, ALWAYS WONDERING ‘WHAT THE HELL IS THIS THING’? BAD ENOUGH YOU SURVIVE A PLANE CRASH BUT SEEING THAT THING... JACK: (AMAZEMENT) YEAH, IT WAS STRANGE TO SAY THE LEAST. RICHARD: (STILL WALKING) I SUPPOSE IT’S TIME TO TELL YOU A LITTLE BIT. I’LL TRY AND KEEP IT SIMPLE. JACK: (PLEASED) BY ALL MEANS, GO RIGHT AHEAD.

4 RICHARD: IT’S A SORT OF SECURITY SYSTEM FOR THE ISLAND BUT THAT’S NOT IT’S ONLY PURPOSE, NOR IT’S ONLY USE. IT SERVES TO PROTECT AND TO BALANCE. AS YOU’VE PROBABLY DEDUCED, IT’S SENTIENT AND IT’S ALSO CAPABLE OF MANIFESTING OBJECTS. JACK: (MATTER OF FACT) I SAW IT PICK UP OUR PILOT AND KILL HIM... I SAW IT TRY TO DRAG LOCKE INTO A HOLE IN THE GROUND. RICHARD: YEAH, THAT’S THE LEAST OF IT’S TALENTS. IT PROTECTS THE ISLAND, GENERALLY SPEAKING AND IT PROTECTS THE TEMPLE SPECIFICALLY. IT PROMOTES BALANCE BETWEEN THE TWO FORCES THAT HAVE FOUGHT OVER THIS ISLAND FOR CENTURIES. JACK: (NOT SURE) OOKAY... I GUESS BUT WHAT ABOUT THE MANIFESTATIONS? HOW DOES IT DO ANY OF THAT? RICHARD: I DON’T KNOW HOW IT DOES IT, I JUST KNOW WHAT IT DOES. WITH RESPECT, LET ME USE YOUR FATHER’S EXAMPLE, JACK? JACK: SURE. RICHARD: SO YOUR FATHER’S DEAD BODY IS BROUGHT HERE PLANE, IT ENDS UP IN A PLACE WHERE IT CAN GRAB HIM. CAN DUPLICATE HIS LIKENESS, AS I TOLD YOU BEFORE, A CAN BE USED TO MANIPULATE PEOPLE, OR SEND A CERTAIN

ON THAT THEN IT LIKENESS MESSAGE.

JACK STOPS FOR A MOMENT, CAUSING THE WHOLE GROUP TO STOP. RICHARD: (TURNING AROUND) OK, I GUESS WE CAN GRAB A DRINK OF WATER NOW BUT LET’S MAKE THIS QUICK, WE’VE GOT WORK TO DO. JACK: (CONFUSED AND SHOCKED) I KNOW YOU SAID SOMETHING WAS MANIPULATING ME, OR US, BUT WHO?... AND WHY? RICHARD: AS I SAID, THERE ARE TWO FACTIONS WARRING OVER THIS ISLAND, THEY DO IT PERPETUALLY. EITHER ONE OF THESE FORCES CAN USE THAT THING AND THEY ARE ALLOWED BECAUSE IT IS WRITTEN IN THAT THING’S DNA TO PROMOTE BALANCE. IF IT SENSES IMBALANCE? IT CAN BE USED. WHO WOULD USE IT? ONLY A LEADER OF ONE OF THOSE TWO FACTIONS COULD USE IT. WHY? FOR THE SAME REASON YOU WOULD DO ANYTHING IN A WAR, YOU’D USE IT TO CREATE AN ADVANTAGE. JACK: SO WHO IS AT WAR HERE, RICHARD? RICHARD: WELL, IN THE PRESENT TENSE, IT’S BETWEEN THAT MAN THAT LOOKS LIKE JOHN LOCKE AND JACOB. JACK: (BAFFLED) SO, THERE IS A SPIRIT IN JOHN LOCKE’S BODY? RICHARD: NO, IN JOHN LOCKE’S IMAGE, NOT HIS BODY. JACK: SO, IT’S A MANIFESTATION, NOT LIKE A..RESURRECTION? RICHARD: YOU GOT IT. (TO GROUP) NOW LET’S GO, WE’VE MAYBE GOT AN HOUR BEFORE WE’RE GONNA RUN INTO TROUBLE. JACK: (EAGER) WHO IS IT, RICHARD? WHO’S USING HIS IMAGE? RICHARD: HIS NAME IS SAMAEL.

5 SCENE COMES TO A CLOSE AND SUDDENLY WE FIND OURSELVES IN THE DARK JUNGLE, VOICES AND NOISES ARE HEARD AS A COMMOTION IS BEING MADE AMONG THE TREES. AS WE MOVE IN, WE REALIZE WHERE WE ARE, THERE IS A LARGE, DAMAGED, BLUE AND WHITE HELICOPTER, LAYING FLAT, BARELY SEEN IN THE REFLECTION OF THE MOONLIGHT. ROSE HOLDS A TORCH AS BERNARD SCRAMBLES TO PULL PEOPLE FROM THE WRECKAGE, HE IS INSIDE THE CRAFT. BERNARD: (SHOUTING) ROSE, BRING THE LIGHT BACK OVER HERE A MINUTE, I CAN’T SEE! WE CUT TO ROSE, WHO IS USING HER TORCH TO LOOK AT A DEAD BODY, APPARENTLY THROWN FROM THE WRECKAGE. SHE HAS A DISTRESSED LOOK ON HER FACE AS SHE QUICKLY MOVES TOWARD BERNARD. SHE STICKS THE TORCH FORWARD INTO THE SIDE DOOR OF THE HELICOPTER, WE SEE BERNARD IN THE BACK ROW OF THE HELICOPTER, THE REST OF THE BACK AREA IS EMPTY. BERNARD: (EXASPERATED) THIS IS THE LAST ONE I CAN GET OUT. HE MAY BE UNCONSCIOUS...OR DEAD, I DON’T KNOW. BERNARD GETS HIM FREE AND DRAGS HIM OUT, THEN LAYS HIM ON THE GROUND, ROSE HOLDS THE FLAME OVER HIM AND WE SEE HIS FACE, IT’S ‘STEWART’ THE MATH WIZ FROM WIDMORE’S GROUP. BERNARD: (TO ROSE) HOW ARE THE REST? ROSE: (WORRIED) I DON’T KNOW, I NEED TO GO AND LOOK. AS SHE WALKS BY, SHE TAKES A GLANCE TOWARDS THE BODY THAT WAS THROWN OUT, THEN AHEAD OF HER ARE TWO MORE BODIES, WE CAN ONLY SEE TWO SETS OF SHOES/LEGS AS SHE WALKS BY. SHE THEN MOVES A FEW MORE FEET AND HER TORCH GIVES WAY TO THE ILLUMINATION OF A FLASHLIGHT, AT THE OTHER END OF THE LIGHT, WE SEE CHARLES WIDMORE, WITH A BLOODIED FACE. END SCENE. ACT THREE: RESUMING THE CRASH SCENE, WITH CHARLES STILL ON SCREEN. WIDMORE: IS MY PHYSICIAN DEAD? ROSE: I DON’T KNOW? YOU’LL HAVE TO SEE FOR YOURSELF. WIDMORE WALKS AND WE FOLLOW HIM, HE SHINES HIS FLASHLIGHT TOWARDS THE GROUND AND WE SEE THE THROWN BODY. IT’S HIS DOCTOR, HE THEN SHINES IT OVER TO THE HELICOPTER AND WE SEE THE LEFT SIDE OF THE CRAFT WAS CRUSHED, THE PILOT TRAPPED AND DEAD. HE FLASHES IT FURTHER TO THE RIGHT AND SEES STEWART. WIDMORE: (LOUDLY) STEWART (WALKS OVER AND LEANS DOWN) STEWART, ARE YOU OKAY? STEWART’S VOICE: (STIRRING, WEAK) YEAH, I THINK SO. WIDMORE: HOLD ON, I’LL BE BACK. WIDMORE THEN NOTICES BERNARD SITTING DOWN ON THE GROUND. HE FLASHES OVER THERE AND WE SEE BERNARD IS CRYING.

6 WIDMORE: (FLAT) THANK YOU FOR YOUR HELP, SIR. (TO SELF) STEWART IS ALIVE, THAT MEANS ONLY FOUR DEAD. (PAUSE) FOR NOW. WIDMORE WALKS BACK TO WHERE ROSE WAS, SHE’S HEADED HIS WAY. ROSE: (WORRIED) IS YOUR DOCTOR DEAD? WIDMORE: AFRAID SO. WHAT ABOUT MY DAUGHTER, HOW IS SHE? ROSE: OH, THE WOMAN IS FINE (WORRIED) BUT DESMOND ISN’T. SCENE ENDS, IT IS NOW BROAD DAYLIGHT ON THE ISLAND, WE SEE A REALLY SWEATTY AND TIRED FRANK TRUDGING ACROSS THE ISLAND, BY HIMSELF, HEADING FOR THE ‘DOCK’ WHERE HE ARRIVED, HE REACHES THE SONIC FENCE BARRIER AND STOPS. FRANK: (MUTTERING TO SELF) NOW WHAT THE HELL IS THIS? HE STANDS THERE FOR A MOMENT AND PACES BACK AND FORTH, SUDDENLY WE HEAR A VOICE. UNKNOWN VOICE: YOU, WHERE DID YOU COME FROM? FRANK SPINS AROUND AND SEES SOME UNKNOWN ‘ISLAND FOLK’ WITH GUNS, AND HE KNOWS THAT CAN’T BE GOOD NEWS. FRANK: HEY, LOOK MAN, I’M JUST TRYING TO GET BACK TO MY PLANE, I DON’T WANT ANY OTHER PROBLEMS. UNKNOWN ‘OTHER’: (TO ANOTHER IN HIS GROUP) GET ON THE HORN TO LINUS (PAUSE) TELL HIM WE GOT THE PILOT. SCENE CHANGE, WE’RE BACK WITH RICHARD AND JACK IN THE TUNNELS. THEY HAVE BEEN WALKING FOR QUITE A WHILE WHEN RICHARD HOLDS UP HIS ARM BENT AT THE ELBOW TO ‘STOP’. HE THEN QUICKLY TURNS AROUND WITH HIS INDEX FINGER ON HIS LIPS, HE THEN GESTURES TO HIS EYES WITH A TWO FINGERED SIGN, AS IF TO SAY “I SEE SOMEONE”. WE SEE THEIR WHOLE GROUP IN THE SHOT. FOCUS IN ON JACK WHO HAS HIS RIFLE IN A FIRE POSITION. RICHARD WAVES TWO OF HIS MEN FORWARD. ONE OF THEM SNEAKS IN THE DARKNESS AND DISAPPEARS. A SHOT OF JACK REACTING ‘WTF’. RICHARD LOOKS BACK AT HIM AND JUST NODS SILENTLY. THEN THE OTHER MAN FOLLOWS BEHIND HIM AND THE EXACT SAME THING HAPPENS. WE SEE HIM CREEPING UP THERE AND THEN, HE DISAPPEARS. SILENCE. BACK ON JACK, HE LOOKS SHOCKED AND WORRIED, IT’S CRAMPED, HOT, DARK IN THERE AND HE’S NERVOUS. SUDDENLY WE HEAR DISTANT TALKING, ALTHOUGH WE CERTAINLY CAN’T SEE ANYTHING. THEN GUNFIRE, ONE, TWO, THREE AND THEN A FOURTH SHOT. A VOICE SPEAKS OUT. UNKNOWN VOICE: (OFFSCREEN, LOUD) SALVUS! (LATIN = SAFE) RICHARD: (CONFIDENT) WE’RE GOOD. LET’S MOVE UP TO THEM. JACK IS RELIEVED AND YET TROUBLED AT THE SAME TIME. SCENE COMES TO AN END AND WE’RE BACK WITH ILANA, SHE’S WALKING WITH TWO OTHERS FROM HER GROUP, WE PAN BACK AND NOTICE THAT JIN HAS FOLLOWED. ILANA SPEAKS WHILE WALKING. JIN TRAILS THEM.

7 ILANA: YOU’RE SURE THEY DEFINITELY WENT INTO THE TUNNELS? JIN: (NOW ONSCREEN) YES, LIKE I SAID, THEY WERE NEAR A STREAM. (PAUSE) ARE WE GOING INTO THE TUNNELS? ILANA: IT IS TOO LONG OF A WALK TO GET TO THEM IN TIME. WE WILL HAVE TO TAKE A DIFFERENT APPROACH. JIN: LIKE WHAT? ILANA: WE’RE GOING TO HAVE GO TO A MORE DANGEROUS PLACE. WE CUT TO A SCENE, AND IT’S APPARENT THEY HAD DONE SOME MORE WALKING, THEY APPROACH A SOMEWHAT FAMILIAR PLACE TO US, AND WHEN WE SEE THE FRONT DOOR, IT’S QUITE OBVIOUS. THE STAFF. JIN: (PUZZLED) THE MEDICAL STATION? ILANA: WE’RE NOT HERE FOR MEDICINE, WE’RE HERE TO GET INSIDE OF A CORRIDOR. THIS IS A DIFFERENT WAY INTO THE TUNNELS. A SHOT OF JIN LOOKING QUITE INTERESTED. THE FOUR OF THEM HEAD DOWN THE LONG HALLWAY LEADING DOWN INTO THE STATION, THEY TAKE A RIGHT INTO A SIDE ROOM AND HEAD TO THE BACK. ILANA STEPS FORWARD AND PUSHES A HIDDEN LEVER. A SECRET DOORWAY EMERGES, THROUGH THIS DOORWAY IS A DARK HALL. AT THE END OF THE DARK HALL IS A DOORWAY WITH GLYPHS ON IT. ILANA SPEAKS. ILANA: THIS IS A LAST DITCH, WE HAVE TO GET TO RICHARD AS SOON AS POSSIBLE. THIS CORRIDOR IS VERY DANGEROUS BUT WE CAN NEGOTIATE IT (DIRECTLY TO JIN) IF YOU JUST STICK BEHIND ME AND FOLLOW MY ORDERS. JIN: (NODDING) YES, (PAUSE) WHAT IS THIS PLACE, WHAT ARE WE GOING TO DO IN HERE? ILANA: (DEADPAN) IT’S A LITTLE LIKE A BANK ROBBERY. JIN: (CLUELESS) SORRY, WHAT DO YOU MEAN? ONE OF THE TWO MEMBERS OF HER TEAM PUTS FORTH A BACKPACK. SHE GRABS IT AND STICKS HER HAND INSIDE, SHE PULLS OUT A DEVICE. ILANA: WE’RE GOING TO DISARM THE SECURITY SYSTEM. ACT FOUR: WE SEE RICHARD WALKING, LEADING THE PACK DOWN IN THIS DARK CORRIDOR AMONG THE TUNNELS. JACK, GABE AND THE TWO OTHERS FOLLOW BEHIND. RICHARD STOPS TO SPEAK, THE REST LISTEN CLOSE. RICHARD: (HUSHED) OKAY, THIS IS LIKELY THE LAST TIME FOR A WHILE WE’LL BE ABLE TO STOP AND GET OUR WITS ABOUT US. IF IT WERE ME, I WOULD HAVE THIS NEXT STRETCH HEAVILY FORTIFIED. JACK: (QUIET) WHERE ARE WE? HOW MUCH FURTHER? GABE SPEAKS UP, QUIETLY. GABE: WE PASSED THE PEARL STATION THIRTY MINUTES AGO.

8 RICHARD: (TO JACK) IT’S NOT MUCH FURTHER IN TERMS OF GEOGRAPHY BUT IT’S QUITE A DISTANCE IN TERMS OF EFFORT. JACK, YOU’RE GOING TO JUST STICK BY ME, OKAY? (JACK NODS). WE ARE GOING TO RENDEVOUS WITH MY OTHER MEN INSIDE OF THE BARRACKS. FROM THERE WE WILL HEAD TOWARDS THE CHAMBER. JACK: (CONFUSED) I THOUGHT WE WERE GOING TO THE TEMPLE? RICHARD: WE ARE, THEY ARE CONNECTED. BUT FIRST, I NEED TO SHOW YOU SOMETHING THERE. I NEED TO SHOW YOU HOW BEN AND JOHN LEFT THE ISLAND. JACK: (STILL HUSHED) WHY? CAN’T THIS WAIT? RICHARD: IT CAN’T WAIT JACK, BECAUSE SOMEBODY FROM YOUR GROUP, SOMEBODY ON OUR SIDE NEEDS TO KNOW WHAT TO DO. AND I’M NOT GOING TO BE ABLE TO BABYSIT YOU FOREVER. JACK: (RESIGNED) FAIR ENOUGH. (SUDDENLY WORRIED) IF HE’S GOT MY FRIENDS, WHAT DO YOU THINK HE’S GOING TO DO WITH THEM? RICHARD: (FLAT) NOTHING GOOD. (PAUSE) TO THE BARRACKS. RICHARD ABRUPTLY TURNS AROUND AND BEGINS WALKING, SCENE ENDS AND WE ARE BACK ON BERNARD, WEEPING, ROSE HAS APPROACHED HIM. ROSE: (OFFSCREEN) YOU DID ALL YOU COULD DO. (ONSCREEN, WITH EMOTION) I’M PROUD OF YOU. BERNARD: (BROKEN UP) WE..WE NEED TO FIND HELP. I..I’VE GOT TO GET MYSELF TOGETHER. BERNARD QUICKLY STANDS AND WIPES HIS FACE. HE ADDRESSED ROSE. BERNARD: HOW ARE THE SURVIVORS? ROSE: C’MON, LET’S GO TALK TO THAT ENGLISH MAN. THEY WALK OVER ABOUT 40 FEET AROUND THE BUSH, THE SURVIVORS HAVING BEEN DRAGGED FROM THE WRECKAGE A FAIR DISTANCE. AS ROSE’S TORCH GIVES THEM AWAY, CHARLES TURNS TO ADDRESS THEM. CHARLES: YOU NEED TO STAY AWAY FROM THAT CRAFT, I WAS JUST ABOUT TO COME AND GET YOU. IF THERE IS A FUEL LEAK, IT COULD EXPLODE AT ANY TIME. I MOVED STEWART AND MORGAN HAS UNLOADED EVERYTHING THAT WASN’T BEYOND REPAIR. CLOSE UP ON ROSE’S FACE, SHE SPEAKS TO SOMEONE OFF SCREEN. ROSE: SO, HOW IS HE? FEMALE VOICE: (OFFSCREEN, EMOTIONAL) HE’S BLEEDING TOO MUCH. THE CAMERA SHOWS PENELOPE HOLDING A BLEEDING DESMOND. HE HAS A TREE LIMB THROUGH HIS SHOULDER BLADE AND EXITING UNDER HIS RIGHT ARM. CHARLES IS THEN SHOWN, AND SPEAKS. CHARLES: (TO ROSE) WE’VE LOST OUR PHYSICIAN BUT SOME OF US HAVE A LITTLE BIT OF MEDICAL TRAINING. MORGAN IS OVER HERE (SHOT OF MORGAN) LOOKING FOR SOMETHING TO STAVE THE BLEEDING.

9 ROSE: HOW DO YOU KNOW DESMOND? WHO ARE YOU PEOPLE? CHARLES: (SURPRISINGLY CONCERNED) DESMOND IS MY SON. THIS IS MY DAUGHTER (POINTS TO PEN) THEY ARE MARRIED. PENNY: (SPEAKING UP THROUGH SNIFFLES, TO ROSE) SON IN-LAW. CHARLES: WE ARE A GROUP BASED OUT OF ENGLAND, VIA AMERICA. WE’VE COME TO SECURE THIS ISLAND. BERNARD: (PUZZLED) SECURE THIS ISLAND? PENNY: (STILL EMOTIONAL) THIS IS CHARLES WIDMORE, MAYBE YOU’VE HEARD OF HIM. ROSE AND BERNARD KNOW HIM OR NOT. OVER TO DESMOND. IN AGONY, MORGAN

ARE SHOWN REACTING, WE’RE NOT SURE IF THEY MORGAN FINALLY FINDS SOMETHING AND HEADS THIS WHOLE TIME, DESMOND HAS BEEN WRITHING TRIES TO TEND TO HIM. CHARLES SPEAKS.

CHARLES: I BELIEVE I KNOW WHO THE BOTH OF YOU ARE. BERNARD NADLER, YOU’RE A DENTIST? I SAW A PICTURE OF YOU BUT YOU DIDN’T HAVE THE BEARD. AND THIS IS YOUR WIFE, ROSE? I DON’T REMEMBER ALL THE PASSENGERS BUT I REMEMBERED YOU. BERNARD: HOW THE HELL DO YOU KNOW US? CHARLES: BECAUSE I FAKED YOUR DEATH. BACK IN BROAD DAYLIGHT, NEAR THE THE GROUND SURROUNDED BY ‘TEMPLE OFF SCREEN, A DHARMA BUS IS SEEN LINUS STEPS OUT AND TURNS TO ONE

SONIC FENCE, FRANK SITS ON GOONS’. AN ENGINE IS HEARD SPEEDING TO THE SCENE. BEN OF THE GOONS.

BEN: (INCREDULOUS) WHAT? (GESTURES BACK AT THE VAN) I’M IN A HURRY, IT’S ALL I COULD FIND. BEN THEN WALKS OVER IN FRONT OF FRANK. SMILING. BEN: HELLO, MR. PILOT. FRANK: (SMART-ASS) IF I’D-A KNOWN YOU GUYS HAD ‘HIPPY BUSES’ I’D A TRIED TO RENT ONE INSTEAD OF WALKING. BEN: LET’S GET TO BUSINESS, SHALL WE? THE LAST TIME I SAW YOU, YOU WERE WITH SUN KWON. I’M GOING TO NEED YOU TELL ME PRECISELY WHERE SHE IS. FRANK: AND WHY WOULD I WANT TO DO THAT? BESIDES YOU THREATENING TO KILL ME, THAT IS? BEN: I’M NOT SURE THAT’S AS MUCH A THREAT AS A PROMISE BUT MAYBE YOU’LL RECONSIDER IF I TELL YOU WE’LL ALL DIE, IF YOU DON’T HELP ME. FRANK: (DISBELEIVING) YEAH, THAT’S A PRETTY GOOD PLOY. NOT GONNA WORK. I’M NOT TELLING YOU ANYTHING. BEN: FINE FRANK, IT’S A GOOD THING I BROUGHT A FRIEND, THEN.

10 BEN TURNS BEHIND HIMSELF AND MOTIONS. THE CAMERA MOVES OVER TO THE DHARMA VAN AND OUT STEPS SAYID. HE WALKS UP TO FRANK. FRANK: (SURPSIED) SAYID? I WAS WONDERING WHAT HAPPENED TO YOU MAN, YOU JUST DISAPPEARED. WHAT ARE YOU DOING WITH HIM? SAYID: DISAPPEARED, IN A WORD, YES. THANKFULLY, I STILL RETAIN SOME THINGS THAT WILL BE USEFUL. FRANK: (CONFUSED) HUH? SAYID: YOU’RE GOING TO TELL US WHERE SUN IS, WHETHER YOU WANT TO OR NOT. AND THEN YOU’RE GOING TO TELL US EVERYTHING ELSE YOU KNOW. WE’RE LOOKING FOR ALL OF THEM. ACT FIVE: WE OPEN ON ILANA, GRABBING A TORCH FROM NEXT TO THE GLYPH DOOR, SHE LIGHTS IT, THEN STEPS FORWARD INTO THE DARKNESS. AFTER A FEW STEPS SHE TURNS BACK AND MOTIONS, ONE OF HER MEN HANDS HER THE DEVICE BACK. SHE THEN CONTINUES WALKING, SILENTLY, JIN AND THE OTHER TWO MEN FOLLOW. A FEW EDITS SHOW US THEY HAVE WALKED FOR QUITE A LONG AMOUNT OF TIME, CREEPY MUSIC PLAYS, AND THEN IT DIES OUT, WE THEN HEAR A SOUND. A ‘PURRING’ SOUND WE SHOULD ALL RECOGNIZE. ILANA: (TO GROUP) IT’S COMING. WHEN I SAY RUN, RUN. ILANA IS FROZEN STILL EXTENDING THE TORCH WITH HER RIGHT ARM. IN HER LEFT HAND IS THE DEVICE. WE WAIT WITH HER, LOOKING INTO THE DARKNESS. WE CAN SEE NOTHING BUT WE STILL HEAR IT. ILANA: (WORRIED) I CAN’T TELL HOW CLOSE IT IS. A VERY TENSE MOMENT, WE’RE MOVING BETWEEN CUTS OF ILANA’S FACE AND THE DARKNESS AHEAD, BACK AND FORTH. SUDDENLY. ILANA: (FEAR) IS THAT IT? WE GAZE INTO THE DARKNESS, THREE FULL SECONDS OF DEAD SILENCE. THEN WE SEE MOVEMENT. BOOM! IT GRABS HER AND SHE DROPS THE DEVICE, IT FALLS TO THE GROUND, JIN STANDING JUST BEHIND HER SCRAMBLES TO PICK UP THE DEVICE. BOTH OF THEM MEN STANDING BEHIND JIN FRANTICALLY CHASE AFTER ILANA IN THE DARKNESS. SCENE ENDS. WE’RE NOW WITH ROSE AND BERNARD, HUDDLED OFF TO A SIDE OF THE SCREEN IN CONVERSATION, AS MORGAN TENDS TO DESMOND, CHARLES THINKS OF A COURSE OF ACTION. WE LISTEN IN ON ROSE AND BERNARD. BERNARD: (QUIET) THIS IS THE MAN WHO PLANTED THE FAKE PLANE. ROSE: (DISTRAUGHT) I DON’T CARE ABOUT ANY OF THAT ANYMORE, BERNARD, WHY CAN’T WE JUST BE LEFT ALONE? BERNARD: IT’S NOT SAFE HERE, WE’VE GOT TO GET AWAY FROM HIM. ROSE: (WORRIED) ARE WE GOING TO LEAVE DESMOND HERE?

11 BERNARD: IT’S HIS FATHER IN LAW, ROSE. HE SEEMS CONCERNED, AT ANY RATE WE COULD FIND JACK. HE NEEDS A DOCTOR. ROSE: THAT WOUND IS BAD, BERNARD, HE MAY BE BEYOND HELP. SUDDENLY CHARLES APPROACHES THEM, SPEAKING. CHARLES: I’M SORRY, ABOUT ALL OF THIS. DID YOU KNOW HIM? BERNARD: (STAMMERING) UH..UH, YEAH. WE KNEW HIM. HE CRASHED HERE ON HIS BOAT, HE WAS DOWN IN A HATCH... CHARLES: (INTERUPTING) NO, NOT DESMOND, (PAUSE) THE BOY. ROSE: (INTRIGUED) THE BOY? CHARLES: YOU DIDN’T KNOW HIM? HE WAS ON YOUR PLANE. A LOOK OF ABSOLUTE SHOCK AND FEAR FALLS OVER ROSE’S FACE, SHE LOOKS AT BERNARD AND WITH TORCH IN HAND RUNS TOWARDS THE HELICOPTER. BERNARD YELLING AT HER. BERNARD: (LOUD) ROSE, ROSE, IT’S NOT SAFE..THE FLAME.. THERE MIGHT BE A FUEL LEAK! WE FOLLOW ROSE AS SHE RUNS OVER TO WHERE WE SAW TWO BODIES LAYING SIDE BY SIDE. WE SEE HER FACE, COMPLETE SHOCK. SHE STICKS THE TORCH FORWARD TO ILLUMINATE THE GROUND, THERE IS ONE DEAD MAN. A WHITE MALE. ROSE: (TOTAL SHOCK) THERE WERE TWO OF THEM...IT WAS HIM! BERNARD: (COMFORTING) ROSE, THERE’S ONLY ONE BODY HERE. ROSE: (DEFIANT) NO, THERE WERE TWO OF THEM RIGHT HERE! CHARLES: (AFFIRMING BUT PUZZLED) HE WAS HERE, I SAW HIM. BERNARD: (TO CHARLES) YOU SAW WHO? WHAT’S GOING ON HERE? ROSE: (SHOCK) IT WAS A BLACK MAN, BERNARD. I DIDN’T RECOGNIZE HIM, HE WAS SO BIG...IT WAS DARK. BERNARD IS STILL CONFUSED, SILENT, HE LOOKS AT CHARLES. CHARLES: SHE’S TALKING ABOUT WALTER LLOYD, BERNARD. HE WAS HERE. (PAUSE) AND HE WAS DEAD. A SHOT OF A TEARY-EYED ROSE WITH HER HAND OVER HER MOUTH, JUST STARING AT CHARLES, ENDS THE SCENE. WE ARE BACK IN THE WOODS, IT’S DAYLIGHT. FRANK LAPIDUS IS TIED TO A TREE, BEATEN AND BLOODY. IT’S AN AWFUL SIGHT. SAYID STANDS BEFORE HIM, BEN AND HIS GOONS STAND IN A HALF CIRCLE SEVERAL FEET AWAY. SAYID: (ANGRY) I’VE NOT YET EXHAUSTED ALL THE MEASURES, LAPIDUS. WE ARE SHORT ON TIME, SO I’M UPPING THE ANTE. SAYID WALKS OVER TO BEN WHO HANDS HIM A LONG, MENACING KNIFE.

12 SAYID: (EXAMINING THE KNIFE) YOU SEE, FRANK. IT SEEMS THAT NO MATTER WHAT I FEEL INSIDE OF ME, I CAN’T HELP BUT HAVE THE THIRST TO FIND THE TRUTH. SO (HOLDS KNIFE UP IN FRONT OF HIM) LAST CHANCE FRANK. (PAUSE) I’LL LET YOU CHOOSE WHICH HAND. FRANK: (BROKEN) WHY YOU DOIN’ THIS MAN? WHY CAN’T YOU JUST LEAVE THAT WOMAN ALO..? SAYID: (QUICKLY, INTERUPTING ANGRILY) RIGHT OR LEFT? FRANK: (SAD, EMOTIONAL) I CAN’T. SAYID WALKS AROUND TO THE BACK OF THE TREE, WE ARE ZOOMED IN ON FRANK’S WORRIED, BLOODIED FACE, A PAUSE, AND THEN AN UNGODLY SCREAM FROM LAPIDUS. SCENE SWITCH, BACK WITH JIN IN THE DARK TUNNEL, A GUN IS STRAPPED OVER HIS SHOULDER, TORCH IN RIGHT HAND, PICKS UP THE DEVICE WITH HIS LEFT HAND. HE LOOKS AT IT CLOSELY, THERE IS A BUTTON RELEASE MECHANISM ON TOP, IT APPEARS TO LOOK SIMPLE ENOUGH. JIN, THEN TAKES A DEEP BREATH AND BEGINS RUNNING TOWARDS THE OTHER THREE. ILANA’S SCREAMS ARE ECHOING THROUGH THE TUNNEL CORRIDOR. JIN IS RUNNING AS FAST AS HE CAN, WHEN HE FINALLY SEES THE LIGHTS FROM THE TORCHES OF THE MEN CHASING ILANA. HE RUNS TOWARDS THEM FOR A LITTLE WHILE AND THEN THE TORCHES SUDDENLY FALL TO THE GROUND. LOUD SOUNDS ARE HEARD, BANGING. ILANA HAS STOPPED SCREAMING. HE’S ALL BY HIMSELF. JIN: (REALLY, REALLY FRIGHTENED) ILANA? THE MONSTER GROWLS IN THE DARKNESS. JIN FIGURES ‘TO HELL WITH THIS’ AND PUSHES THE BUTTON, THEN A BRIGHT WHITE FLASH. HE IS KNOCKED OVER BY THE ‘EXPLOSION’ OF LIGHT, THERE IS AN ACCOMPANYING, DEVASTATING HIGH PITCHED SOUND. AS THE FLASH ILLUMINATES THE CORRIDORS, HE SEES A PASSAGE OVER TO HIS LEFT. WHILE COVERING HIS EARS HE STANDS UP AND STARTS RUNNING, IT’S DARKNESS AGAIN, WE HEAR HIS QUICK FOOTSTEPS, BREATHING HEAVILY. THEN MORE AND MORE OF HIS FOOTSTEPS ARE HEARD AND SUDDENLY, A STRANGE SOUND FROM JIN. JIN: (LOUD) AHHHH!!!!! WE SWITCH, THE CAMERA IS IN A SLIGHTLY LIGHTED TUNNEL AREA. IT’S A BIT BLUEISH WHITE ON THE RIGHT SIDE, THERE IS A TUNNEL LEADING THROUGH THE SHOT INTO THE DARKNESS ON THE LEFT. JIN EMERGES CRAWLING SLOWLY FROM THE DARKNESS ON THE LEFT. IT BECOMES EVIDENT HE HAS FALLEN DOWN INTO SOMETHING. HE’S SHIVERING, OUT OF BREATH, IN SHOCK AND TERROR. HE COLLAPSES FLAT ONTO THE GROUND. THE CAMERA MOVES TO THE RIGHT. WE SEE THE FROZEN CHAMBER, THEN WE SEE THE WHEEL. SCENE.

13 ACT SIX: A SHOT CENTERED ON THE DHARMA VAN, OUTSIDE THE SONIC FENCE. BEN AND SAYID ENTER FROM OFFSCREEN, THEY CHAT AS THE GOONS FOLLOW BEHIND THEM. BEN AND SAYID THEN STOP AND WE FOCUS IN. BEN: GOOD WORK SAYID. WITH ANY LUCK WE’LL BE ABLE TO KILL TWO BIRDS WITH ONE STONE. SAYID: I AM REASONABLY CONVINCED THAT IS ALL HE KNOWS. JIN IS HEADED SOMEWHERE WITH ILANA. THE QUESTION IS, TO WHERE? BEN: (COCKY) WHERE DO YOU THINK? SAYID: I WOULD SUSPECT THAT SHE MIGHT BE HOPING TO RENDEVOUS WITH RICHARD. DO YOU KNOW WHERE RICHARD WOULD BE? BEN: I THINK IT’S A REASONABLE DEDUCTION THAT RICHARD HAS ENLISTED JACK UNDER THE GUISE OF BEING THE SAVIOR OF ALL HIS FRIENDS. IF THIS IS SO, THEN JACK IS ALSO ‘HELPING’ RICHARD TO REMOVE SAMAEL, WHETHER HE MEANS TO OR NOT. IN ANY CASE, JACK AND RICHARD ARE IN THE TUNNELS. SAYID: SO IF SHE WAS LOOKING FOR RICHARD, I ASSUME SHE WOULD KNOW THAT IS WHERE TO LOOK? BEN: (NODS) JACOB’S PEOPLE HAVE A WANT TO CHANGE THINGS BEFORE IT’S TOO LATE. IT SEEMS WE HAVE ANOTHER BIT OF SERENDIPITOUS LUCK. FIRST, I THOUGHT I’D BE SEARCHING THE ENTIRE ISLAND FOR WEEKS LOOKING FOR HUGO AND HE BASICALLY FALLS INTO MY LAP. THEN I HAVE LESS THAN 24 HOURS TO FIND JIN KWON AND JACK AND THEY ARE HEADED TO THE VERY SAME PLACE. SAYID: THEY’RE COMING TO THE TEMPLE? BEN: OF COURSE. ISN’T IT JUST LIKE FATE? NOW I’VE JUST GOT TO CONVINCE HIM NOT TO KILL EVERYONE BEFORE THEY GET THERE. SAYID: SO WHAT SHALL WE DO? BEN: WE PULL BACK AND LET THEM WALK RIGHT IN. WHATEVER OUR SECURITY SYSTEM TAKES IN THE MEANTIME, IS JUST GRAVY. SAYID: YOU’RE CONFIDENT THEY WOULDN’T SMELL THE TRAP? BEN: (SCOFFS) IT WOULDN’T MATTER IF THEY DID. THEY HAVE NO OTHER CHOICE. BUT JUST TO MAKE SURE, WE’RE GOING TO GO GET SUN KWON. BESIDES, I PROBABLY SHOULDN’T GO BACK TOTALLY EMPTY-HANDED. SCENE CHANGE, WE CUT TO INSIDE A HOUSE AT THE BARRACKS, THE RENDEVOUS POINT. THERE ARE TEN MEN INSIDE, INCLUDING RICHARD AND JACK. RICHARD HAS BEEN SPEAKING TO THE ENTIRE GROUP. RICHARD: LISTEN, AFTER IT ALL WENT DOWN, I SPOKE TO JACOB. WHEN I WENT INTO THE STATUE, HE WAS THERE, IN SPIRIT. A SHOT OF JACK LISTENING CLOSELY, THE CAMERA MOVES AROUND THE ROOM OF FACES, OF THOSE PREPARING FOR BATTLE.

14 RICHARD: HE TOLD ME THAT HE WOULD BE BACK. THAT HE WOULD COME BACK TO SAVE US ALL. BUT IN THE MEANTIME WE HAVE TO STOP SAMAEL FROM KILLING HIS ‘KEY’. NOW, MOST OF YOU KNOW THIS (LOOKS AT JACK) SO THIS IS MOSTLY FOR JACK. JACK: (WIDE EYED) I’M LISTENING. RICHARD: THERE IS A PLACE IN THE TEMPLE, WHERE (PAUSE) AN EXCHANGE CAN TAKE PLACE. THIS IS WHERE SPIRITS CAN ENTER BODIES THAT ARENT THEIR OWN. JACK: (SHOCKED, PUZZLED) LIKE POSSESSION? RICHARD: YEAH BUT NOT QUITE THE SAME. THESE BODIES HAVE TO BE NEAR DEATH, LIKE CRITICAL. AND THEY HAVE TO SORT OF GIVE PERMISSION FOR THIS TO HAPPEN. JACK: IS THIS...WHAT HAPPENED TO BEN? RICHARD: THIS IS PRECISELY WHAT HAPPENED TO BEN, JACK. THIS IS ALSO WHAT HAPPENED TO SOME OF THESE MEN. (SHOT OF JACK LOOKING AROUND ROOM). THEY CAN GO ABOUT THEIR BUSINESS, LIVE SOMEWHAT NORMAL LIVES, HAVE CHILDREN, AGE, DIE, BUT (PAUSE) THEY CAN NEVER FULLY MAKE DECISIONS FOR THEMSELVES. SOMETHING TRANSMIGRATES INTO THEM. IT CAN BE USED TO HEAL THEM AND IT CAN BE USED FOR OTHER PURPOSES. JACK: SO THESE...SPIRITS, THEY ARE THE TWO FACTIONS AT WAR. RICHARD: YES, AND CONSIDERING I TOLD YOU ABOUT THE SMOKE MONSTER A COUPLE OF HOURS AGO, THAT’S PRETTY MUCH ‘THE BIG SECRET’ IN A NUTSHELL. JACK: (CONFUSED STILL) WAIT (SHAKNG HEAD) SO THE MAN...SAMAEL, THAT LOOKS LIKE JOHN LOCKE, IS A MANIFESTATION OF THE SMOKE MONSTER, BUT HE IS ALSO A SPIRIT? RICHARD: YES, THIS IS WHY IT SURPISED ME SO MUCH. I’VE NEVER SEEN THAT HAPPEN. THIS THING IN THE TEMPLE, THAT CAN TRANSMIGRATE SOULS INTO BODIES THAT ARE NEAR-DEATH? (JACK NODS) WELL HE USED IT TO TRANSMIGRATE HIS OWN SOUL, INTO A MANIFESTATION OF THE SMOKE MONSTER. JACK SITS SILENT, SLOWLY SINKING IN. RICHARD: (TO JACK) RIGHT NOW, I’M GOING TO SEND OUT A COUPLE OF THESE MEN TO TRACK DOWN HUGO AND MILES AT THE DHARMA PIT. WHILE WE HEAD QUICKLY OVER TO THE ORCHID. JACK: (PERPLEXED) WHY DO WE NEED TO INVOLVE HURLEY IN THIS? RICHARD: BECAUSE SAMAEL THINKS THAT HURLEY IS JACOB’S KEY. SO I WAS GOING TO USE HIM AGAINST SAMAEL... JACK: (REFUSING) NO, ABSOLTUELY NOT, WE LEAVE HIM OUT OF IT. RICHARD: THIS IS PART OF JACOB’S PLAN, JACK. I’M GOING TO SEND THREE MEN OUT TO FIND HUGO AND THEY WILL MEET US BACK HERE IN ABOUT FOUR HOURS,(CONT.)

15 RICHARD:(CONT.) IT SHOULD BE GETTING DARK BY THEN YOU AND I NEED TO GET TO THE ORCHID STATION, WE’D TAKE THE TUNNELS IN BUT IT’S DOWN THERE. WHEN WE GET BACK HERE, ALL OF US ARE GOING IN. AND WE WON’T LEAVE THE TEMPLE UNTIL SAMAEL IS OUT OF POWER, OR ELSE WE WON’T LEAVE AT ALL. THE SCENE ENDS AND WE ARE IN SAMAEL’S LAIR, BACK IN THE TEMPLE, THE PLACE WHERE SAMAEL PULLED THE SACK OFF OF CLAIRE’S HEAD AND SPOKE WITH SAWYER. HE IS SEATED IN THE CENTER. ENTERING THE ROOM ARE FIRST, SAYID WHO WALKS IN AND STOPS NEAR THE BACK AND FINALLY BENJAMIN LINUS, ESCORTING SUN KWON. SAMAEL: (SMILING) HELLO AGAIN MS KWON. LET ME INTRODUCE MYSELF PROPERLY THIS TIME. SUN LOOKS FRIGHTENED. SAMAEL: (STILL SMILING) MY NAME IS SAM, I BORROWED YOUR FRIEND JOHN LOCKE SO I COULD TAKE CARE OF SOME BUSINESS. YOU SEE, I’M LOOKING FOR SOMEBODY WHO HAS SEEMINGLY SCREWED UP MY PERFECT PLAN. AND IT COULD ONLY BE ONE OF TWO PEOPLE. (SUN IS PETRIFIED) I CAN’T WAIT TO MEET YOUR HUSBAND. SUN: (SCARED) WHAT IS THIS ALL ABOUT? SAMAEL: BEN CALLED ME UP ON THE WALKIE BEFORE HE NABBED YOU, SAID HE HAD SOME VITAL INFORMATION THAT CHANGED THINGS. I THINK HE’S ENDED UP BEING ASBOLUTELY RIGHT. (BEN SHOWN GRINNING WITH PRIDE). YOU SEE YOUR FRIEND FRANK WAS ABLE TO LET US IN ON A FEW VERY IMPORTANT PIECES OF INFORMATION. SUN: (WORRIED) DID YOU HURT HIM? (SHE TURNS TO LOOK AT SAYID) SAMAEL: OH, HE WAS VERY HELPFUL. FIRST HE TOLD US WHERE YOU WERE, THEN HE SAID WHERE JIN WAS HEADED. SO WE’VE DEDUCED HE’S HEADED HERE, SO AT LEAST YOU’LL GET TO SEE HIM AGAIN AND BETTER YET, WE DON’T NEED TO CHASE HIM DOWN. SUN: (FEARFUL) WHAT DO YOU WANT WITH HIM? SAMAEL: JUST NEED TO GET A GOOD LOOK AT HIM. THAT’S ALL. BUT THE MOST IMPORTANT THING WE ENDED UP GETTING FROM FRANK, WAS THAT YOU TOLD ALL OF THEM THAT RICHARD SAID HUGO REYES WAS THE ONE WHO WOULD SAVE YOU. SUN: (APPREHENSIVE) PLEASE, WHAT IS IT YOU WANT? SAMAEL: WELL, LITTLE LADY, WE’VE GOT HUGO REYES. AND HE AIN’T THE ONE, TRUST ME. (SUN IS CONFUSED) SO WHAT DOES THIS TELL ME? IT TELLS ME THAT RICHARD IS LYING. SUN: WHY WOULD HE LIE ABOUT THIS?

16 SAMAEL: BECAUSE ALREADY SUSPECT WANTED ME TO BE PREDICTED WOULD YOU BY NOW. AND

HE WANTED ME TO CHASE THAT GHOST. HE KNEW I’D HUGO BECAUSE OF SOME STUPID NUMBERS. HE LOOKING THE OTHER WAY. WHAT HE COULDN’T HAVE BE THAT I WOULD HAVE CAPTURED ALMOST ALL OF SO I’M NOW FREE TO DO WHAT I NEED TO DO.

SUN: (SERIOUS) YOU WON’T CAPTURE JIN, I PROMISE YOU. SAMAEL: ACTUALLY, YOU BETTER HOPE I DO. YOUR HUSBAND AND JACK SHEPHARD ARE THE ONLY TWO POSSIBLE “KEYS” I HAVE LEFT TO OPEN MY LOCKED DOOR. AND IF THEY DON’T WORK, THEN YOU ALL DIE. SUN IS SHOCKED BY THIS STATEMENT, SAMAEL THEN WAVES SAYID FORWARD, HE COMES FORWARD TO LEAD HER OUT. BEN THEN STEPS FORWARD TO SAMAEL, FOR A SHORT CONVERSATION. SAMAEL: (TO BEN) IT HAS COME TO MY ATTENTION RECENTLY THAT THE SPIDER CAUGHT SOME FLIES DOWN BY THE WHEEL. BEN: IS THAT RIGHT? SAMAEL: YEP. THREE OF HIS PEOPLE, ALL DEAD. INCLUDING THE WOMAN SUPPOSEDLY WITH JIN. COUPLED WITH THE FOUR GUYS YOU KILLED NEAR THE STATUE, I’D SAY IT WAS A GOOD DAY. BEN: WELL, THE BIG GUY GOT AWAY. HE’S NOT A THREAT ANYHOW. (ANXIOUS) SO, WHERE WAS JIN? SAMAEL: I DON’T KNOW BUT HE ISN’T GOING FAR. SEND A FEW FOLKS TO THE ORCHID FOR RECON. THE REST OF US WILL WAIT ON JACK. BEN NODS AFFIRMATIVE AND THE SCENE ENDS. WE ARE BACK IN THE TUNNEL BY THE FROZEN WHEEL. LYING ON THE GROUND, JIN REACHES DOWN, IN INCREDIBLE PAIN, TOWARDS HIS LEGS. BOTH APPEAR TO BE INJURED BADLY. HE’S SHIVERING FROM THE COLD. HE BEGINS TO WEEP, IN FRUSTATION AND AGONY. HE CLOSES HIS EYES AND RESTS HIS HEAD BACK DOWN ON THE GROUND. SUDDENLY WE CAN SEE A SLIGHT SHADOW IN THE LIGHT REFLECTED OFF THE ICE IN THE WHEEL CHAMBER. JIN NOTICES THE LIGHT CHANGE AND OPENS HIS EYES. SUDDENLY A VOICE. MALE VOICE: YOU HAVE TO GET UP, JIN. FRIGHTENED, LYING ON HIS SIDE, HE CAUTIOUSLY RAISES HIS HEAD TOWARDS THE END OF THE CHAMBER. A FIGURE STANDS IN THE ‘PATHWAY’. WE ONLY SEE JIN’S FACE AS WE HEAR THE VOICE AGAIN. MALE VOICE: YOU NEED TO COME HERE AND PUSH THIS WHEEL, JIN. JIN GATHERS HIMSELF AS BEST HE CAN ROLLING OVER ONTO HIS HANDS TO TRY AND GET A BETTER LOOK. HE PUSHES HIMSELF FORWARD, AS HIS HEAD RAISES, ‘WE’ ALL NOW SEE HIM. IT’S WALT. LOST

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