607- "liberate"

“LIBERATE”

Written by Thunderstorm

Disclaimer: Purely Fan Fiction. No Infringements Intended.

Episode Seven JULY 03, 2009

"LIBERATE" ACT ONE: WE OPEN ON A CAMPFIRE, NIGHTTIME, CAMERA PANS OUT AND WE CAN SEE SAWYER SLEEPING, THEN A CUT, TO MILES WHO IS “SLEEPING” WITH ONE EYE OPEN. WE PAN FURTHER OUT TO REVEAL FARMER CHRISTIAN HOLDING AARON AND TALKING TO CLAIRE. MILES LISTENS. CLAIRE: (HALF-ASLEEP, SHOCK) DAD? WHAT ARE YOU DOING HERE? THE FARMER: (COMFORTING) I’VE COME TO PROTECT THE BABY, DEAR. CLAIRE: (INCREDULOUS) WHAT DO YOU MEAN? HOW DID YOU GET HERE? THE FARMER: (SOFT) LET’S NOT WAKE JAMES, HONEY, I THINK THE ASIAN MAN HAS HEARD ENOUGH ALREADY. FARMER CHRISTIAN THEN TURNS OVER TO GLARE AT MILES, WHO IS NOW CAUGHT FEIGNING SLEEP, WITH AN EYE OPEN, HE THEN CLOSES THEM BOTH. CHRISTIAN AND CLAIRE THEN WALK OFF, NOW THEY STAND, SEVERAL FEET AWAY FROM THE FIRE. FARMER HOLDS AARON. THE FARMER: (REASSURING) I’M GOING TO HAVE TO TAKE THE BABY CLAIRE, THOSE MEN COMING HERE ARE VERY BAD PEOPLE. THE ONLY WAY WE CAN MAKE SURE HE’S SAFE, IS TO LET HIM COME WITH ME. CLAIRE: (STILL DUMBSTRUCK) WHAT DO YOU MEAN? I DON’T UNDERSTAND HOW YOU’RE EVEN HERE, WHAT IS GOING ON? THE FARMER: I’M GOING TO NEED YOU TO GO WITH ME SOMEWHERE, WE’LL BE SAFE FOR NOW BUT THE BABY CAN’T COME WITH US. CLAIRE: (DEFIANT) I’M NOT LEAVING HIM, I CAN’T LEAVE MY SON! THE FARMER: WE’RE GOING TO LET JOHN TAKE HIM SOMEWHERE SAFE, OKAY? JOHN KNOWS WHAT TO DO, HE’D NEVER HURT AARON. CLAIRE: JOHN? WE JUST LEFT JOHN BACK THERE, ALL OF THIS IS TOO CRAZY, I CAN’T LEAVE HIM, DAD! SUDDENLY FROM THE WOODS, JOHN...ERR, SAMAEL IS HEARD. SAMAEL: (OFFSCREEN) IT’S OKAY, CLAIRE. YOUR FATHER IS RIGHT. CLAIRE: (VERY WORRIED) JOHN, WHAT ARE YOU GOING TO DO WITH HIM? WHY WOULD HE BE SAFER SOMEWHERE ELSE? SAMAEL: YOU’RE GOING TO GO WITH YOUR FATHER TO A CABIN, CLAIRE. IN ABOUT AN HOUR OR SO, I’LL SHOW UP THERE. I’LL BE CONFUSED, BECAUSE I WON’T REMEMBER THIS CONVERSATION. (CLAIRE LOOKING WORRIED) BUT YOUR FATHER WILL SHOW ME THAT YOU’RE SAFE AND I’LL BE REASSURED. AND WHEN YOU SEE THIS HAPPEN, YOU’LL KNOW THAT I’VE TAKEN CARE OF THE BABY. CLAIRE: (STUNNED) THIS DOESN’T MAKE ANY SENSE! SAMAEL: YOU BELIEVE IN MAGIC, DON’T YOU CLAIRE? YOU READ HOROSCOPES AND YOU DAYDREAM, YOU HAVE AN OPEN MIND?

2 CLAIRE: (APPREHENSIVE) YES BUT...I STILL DON’T UNDERSTAND. SAMAEL: I’M JOHN LOCKE (PAUSE) FROM THE FUTURE. (CLAIRE STILL CONFUSED) AND I KNOW THAT SOMETHING BAD IS SUPPOSED TO HAPPEN TO THE BABY, SO I NEED TO TAKE HIM TO KEEP HIM SAFE, OKAY? CLAIRE: FROM THE FUTURE? YEAH, THAT’S RIDICULOUS. THEN WHY COULDN’T I COME ALONG? THE FARMER: (INTERJECTING) BECAUSE YOU WOULD BE HURT IF YOU WENT WITH HIM. THE LESS YOU KNOW THE BETTER. YOU’LL BE SITTING BY MY SIDE, AND JOHN WILL COME IN, WHEN YOU SEE THAT HE DOESN’T REMEMBER THIS CONVERSATION, YOU’LL KNOW AARON IS FINE. CLAIRE: SO YOU THINK HE’S FROM THE FUTURE TOO? (FARMER NODS) (FORCEFUL) I DON’T WANT TO LEAVE HIM. THE FARMER: (SOFT) I’M YOUR FATHER, CLAIRE. I WOULD NEVER DO ANYTHING TO HURT YOU OR MY GRANDCHILD. THIS HAS TO BE DONE. AFTER THE OTHER JOHN COMES TO SEE US, AND DOESN’T REMEMBER THIS CONVERSATION, WE WILL GO AND GET THE BABY. HE’LL ONLY BE OUT OF YOUR HANDS FOR A FEW HOURS. (PAUSE) I PROMISE. A SHOT OF AN UNSURE CLAIRE ENDS THE SCENE. WE NOW SWITCH TO INSIDE THE LOWER TEMPLE LEVEL, IT’S DARK. WE ARE WITH GABRIEL AND HIS FOUR MEN, THEY ARE MOVING SLOWLY ALONG A DARK TUNNEL, WE HEAR SAMAEL WITH A LOUD, ANGRY VOICE OFF IN THE DISTANCE. THEY ARE FAIRLY CLOSE TO HIM AND THE REST BUT THEY HAVE SOME BUSINESS TO TAKE CARE OF FIRST. WE CUT TO A SHOT OF SAWYER, HANDS BOUND LAYING DOWN, LISTENING TO SAMAEL’S WORDS AS CLOSE AS POSSIBLE. HE’S LEANING TOWARDS THE DOOR, SUDDENLY IT BUSTS OPEN. HE FALLS BACKWARDS AND LOOKS UP, A TORCH IS STUCK IN HIS FACE. WE REMAIN ON SAWYER. GABRIEL’S VOICE: (HUSHED) STAY QUIET, ARE YOU JAMES FORD? SAWYER: (MIFFED) WHAT, YOU COME TO KILL ME NEXT? GABRIEL: (NOW ONSCREEN) NO JAMES, WE’VE COME TO FREE YOU. SAWYER: (DISBELIEF) YEAH, RIGHT. CUT ME LOOSE AND HAND ME A GUN THEN. ONE OF GABRIEL’S MEN STEPS FORWARD WITH A KNIFE, SAWYER GIVES IT A WORRIED GLANCE, THEY STAND SAWYER UP, THEY CUT HIS HANDS LOOSE, GABRIEL STEPS FORTH AND HANDS HIM A HANDGUN. GABRIEL: (HUSHED) IT’S ALL I’VE GOT, LET’S STAY QUIET. (SAWYER GRINS) YOU KNOW ANYBODY ELSE IN THIS WING? SAWYER: (PLEASED) I GOT NO IDEA, THE ONLY THING I KNOW IS I’M ALL ABOUT KILLIN’ SOME FOLK ABOUT RIGHT NOW. GABRIEL: (SERIOUS)JUST DON’T SHOOT RICHARD OR JACK OR ANYONE ELSE THAT YOU’D MIGHT REGRET.

3 SAWYER: SO JACK MADE IT HERE? (PAUSE) I’LL BE DAMNED. FIGURED HE’D BE OFF TRYING TO BLOW SOMETHING ELSE UP. GABRIEL: (HUSHED) LET’S KEEP QUIET! SINCE YOU DON’T KNOW WHERE ANYBODY ELSE IS, WE’RE JUST GOING TO GO AHEAD AND DO THIS THING. SAWYER: (CONFIDENT) THEN LET’S DO THIS THING. THEY HUNKER DOWN AND EXIT OUT THE ENTRANCE TO SAWYER’S “CELL” THE CAMERA FOLLOWS THEM BACK INTO PITCH BLACK, MERGING INTO LOST TITLE CARD ACT TWO: WE OPEN INSIDE OF THE STAFF STATION, FRANK IS LAYING ON A BED, BRAM STANDS NEXT TO HIM, POURING SOME OF HIS OWN BLOOD INTO HIM. FRANK STIRS, REGAINS CONSCIOUSNESS. BRAM: EASY THERE, FRANK. (PAUSE) FEELING BETTER? FRANK: (EXHALES) I GUESS SO, NOT SEEING STARS ANYMORE. (NOTICES THE TUBES) YOU SURE WE’RE A MATCH, PARTNER? BRAM: (SMILES) UNIVERSAL DONOR. I JUST NEEDED SOMETHING TO MAKE THE TRANSFER, THAT’S ALL. FRANK THEN LOOKS DOWN TO HIS HAND, BANDAGED RATHER WELL AND STILL A LITTLE BLOODY THROUGH THE GAUZE. BRAM: I HOOKED YOU UP AS SOON AS I COULD, AND THEN I SEWED YOU UP THE BEST I COULD. FRANK: (PLEASED) AND THEN YOU BANDAGED ME UP THE BEST YOU COULD, (LOOKING AT HIS HAND) I’D SAY YOU DID ALRIGHT, MAN. BRAM: IT’S MY PLEASURE FRANK (PAUSE) SORRY ABOUT THE FINGERS, (LIGHTHEARTED) DOES THAT MEAN YOUR AVIATION CAREER IS OVER? FRANK: (PRIDE) NAH, I CAN STILL FLY, EVEN LIKE THIS. I JUST DON’T THINK I’LL LIVE TO EVER GET OFF THIS ROCK. BRAM: ACTUALLY FRANK, I THINK YOU’RE GOING TO HAVE TO. FRANK: (PUZZLED) SAY, WHAT? BRAM: (SERIOUS) YOU AND I ARE GOING TO HAVE TO PART WAYS FROM HERE. YOU’RE GOING TO HEAD WHERE YOU WERE HEADED, BACK TO THE SMALL ISLAND. FRANK: (UNSURE) AND GET CAPTURED AND KILLED THIS TIME? BRAM: MAYBE SO, FRANK. THIS IS CRUNCH TIME. YOU’RE GOING TO GET BACK TO THAT ISLAND, YOU’RE GOING TO BACK THAT PLANE UP AS FAR BACK AS POSSIBLE ON THAT SO CALLED-RUNWAY AND YOU’RE GOING TO FIRE IT UP (PAUSE) AND GET THE HELL OUT OF HERE. FRANK: I DON’T THINK THERE IS ENOUGH ROOM TO EVEN...

4 BRAM: (INTERUPTING) DOESN’T MATTER FRANK. IT’S WHAT NEEDS TO BE DONE. YOU’RE GOING TO GEAR THAT PLANE READY TO TAKE OFF, AND I’M GOING TO GET A MESSAGE TO YOU WITH THE PROPER BEARING. I’M ALSO GOING TO BE SENDING PEOPLE YOUR WAY (PAUSE) WE’RE GOING TO FILL THAT PLANE UP WITH WHOEVER WANTS TO LEAVE. FRANK: SO WHAT IF YOU GET KILLED, WHAT HAPPENS TO YOUR MESSAGE? BRAM: (CONFIDENT) I’M SENDING A TELEGRAM FRANK. IT WILL GET THERE. WHAT YOU NEED TO KNOW IS THAT TIME IS NOT DISPOSABLE. YOU NEED TO DO THIS AS SOON AS YOU CAN AND I’LL NEED TO DO MY BUSINESS AS SOON AS I CAN. FRANK: (WORRIED) AND IF I GET CAPTURED AGAIN OR KILLED? BRAM: THEN INSTEAD OF JUST SOME OF US DYING HERE (PAUSE) WE ALL WILL. SCENE ENDS, WE ARE THEN INSIDE OF THE DHARMA TEMPLE STATION, ABOVEGROUND, DAYLIGHT ILLUMINATES SOME OF THE INTERIOR OF A LARGE SPACE, A PLACE WHERE PEOPLE ARE SEATED AND EATING. COULD BE A LOUNGE AREA, HARD TO SAY. ALL WE KNOW IS CLAIRE IS NOW SEATED, TALKING TO HER “FATHER”. THE FARMER: I KNOW WE LIED TO YOU AND I’M SORRY, AGAIN. CLAIRE: I HAVEN’T SEEN IN HIM IN A MONTH DAD, YOU SAID IT WOULD ONLY BE A FEW HOURS. (EMOTIONAL) I CAN’T TAKE THIS. THE FARMER: IT WAS THE ONLY WAY YOU WOULD HAVE GONE THROUGH WITH IT, AS IT STANDS, YOU’RE JUST GOING TO HAVE TO BIDE YOUR TIME. MY GRANDSON (PAUSE) YOUR SON WILL BE BACK SOON. CLAIRE: IF I’M GOING TO HAVE TO WAIT, THEN YOU’RE GOING TO TELL ME WHERE HE IS. OR ELSE I’M LEAVING THIS PLACE AND I’LL GO LOOK FOR HIM MYSELF. I HAVEN’T SEEN ANY OF MY FRIENDS IN A LONG TIME. WHERE IS EVERYBODY? THE FARMER: YOU ALREADY TRIED TO LEAVE CLAIRE, SEVERAL TIMES, AND I’LL JUST TELL YOU AGAIN, YOU CAN ONLY BE SAFE, HERE. (CLAIRE LOOKING PISSED) YOU KNOW WE WON’T LET YOU LEAVE. CLAIRE: (MIFFED) TELL ME WHERE HE IS, YOU CAN GIVE ME THAT. THE FARMER: OKAY, CLAIRE. YOU’VE BEEN REASONABLY PATIENT UNDER THE CIRCUMSTANCES, SO I’LL TELL YOU. (PAUSE) AARON IS WITH YOUR FRIEND, KATE AUSTEN. AND THEY ARE OFF THE ISLAND. CLAIRE: (SURPRISED, CONFUSED) KATE? WHY DID SHE TAKE HIM? THE FARMER: SHE WAS PROTECTING HIM AND HE IS SAFE WITH HER. AND SOON SHE AND HER BOYFRIEND WILL BRING HIM BACK TO YOU. CLAIRE: (CONFUSED) HER BOYFRIEND? SHE’S GOT HIM WITH SOME STRANGER? THE FARMER: NO, CLAIRE. KATE’S BOYFRIEND. MY SON.

5 CLAIRE: (SHOCK, DISBELIEF) SAWYER? (PAUSE) IS YOUR SON? THE FARMER: JUST THINK ABOUT IT CLAIRE. THEY ARE OFF THE ISLAND, THEY HAD TO LEAVE BECAUSE OF THOSE MEN THAT WERE COMING HERE (PAUSE) AND SOON THEY WILL RETURN WITH AARON. CLAIRE: (QUIET) I WAS SO STUPID, WHY DID I LET YOU TAKE HIM? THE FARMER: I DIDN’T “TAKE” HIM CLAIRE, WE SAVED HIM. FARMER CHRISTIAN STEPS UP AND WALKS OFF, SCENE CHANGE. WE’RE BACK IN THE LOWER TEMPLE, WATCHING GABRIEL, SAWYER AND THE OTHER 4 MEN SNEAK INTO A PASSAGE. THEY CREEP ALONG FOR A PERIOD OF TIME, UNTIL THEY GET TO A LADDER. GABRIEL TURNS BACK TO ADDRESS SAWYER BEFORE THEY CLIMB. GABRIEL: (QUIET) WE’LL GO IN FIRST, FOLLOW OUR LEAD, OKAY? SAWYER NODS, HE HAS A GUN AND A DETERMINED LOOK. THE MEN, ONE AT A TIME CLIMB THE LADDER. SAWYER IS IN THE BACK OF THE OTHER FIVE MEN, WE STAY ON SAWYER. THROUGHOUT THIS SCENE, AT VARIOUS TIMES WE’VE HEARD SAMAEL’S VOICE AND THEN SUDDENLY WE HEAR JACK DISTINCTLY SAY: JACK: (IRATE) WHAT IS THIS, YOU SON OF A BITCH!?! BACK ON SAWYER, WE HEAR VARIOUS VOICES DOWN WHERE JACK IS. SUDDENLY SAWYER DISCERNS MUFFLED FEMALE VOICES. FAMILIAR. HE’S WORKING HIS WAY TO THE TOP OF THE LADDER, HE GETS TO THE TOP OF THE LADDER, HE’S BENT DOWN AS THE OTHERS IN FRONT OF HIM. HE CAN’T SEE TOO WELL. ANOTHER VOICE. JACK’S VOICE: (LOUD, ANGRY) LET THEM GO, TAKE ME INSTEAD! SAWYER HAS BEEN CROUCHED DOWN, AS THE OTHERS, WHEN HE CAN’T TAKE IT ANYMORE, HE RAISES UP, SLIGHTLY STANDING, PEERING OVER A CONCRETE BARRIER, ILLUMINATION IN THE ROOM. THEY HAVE BEEN CRAWLING ALONG A KIND OF DRAINAGE ‘DUCT’HIGH UP IN THIS CHAMBER. SAWYER GLANCES DOWN, HIS EYES AND THE CAMERA ARE IMMEDIATELY DRAWN TO SAMAEL, SEEN PLUNGING A KNIFE INTO JACK SHEPHARD. A SHOT OF SAWYER’S FACE, INCREDULOUS, SIMULTANEOUS SCREAMS FROM THE WOMEN. HE LOOKS DOWN TO SEE CLAIRE AND KATE, ON THE GROUND, THEY’VE BOTH FALLEN OVER, CRYING AND SHOUTING. THEN GABRIEL’S MEN YANK HIM BACK DOWN, GABRIEL SPEAKS TO HIM. GABRIEL: (AGITATED, QUIET) IF THEY SEE YOU NOW, WE WON’T BE ABLE TO RESCUE ANY OF THEM. (DEAD SERIOUS) JUST FOLLOW OUR LEAD AND WE CAN MAKE IT DOWN THERE SHORTLY. SAWYER LOOKS AS DISTRAUGHT AS WE’VE EVER SEEN HIM. SCENE END. ACT THREE: WE OPEN ON THE ISLAND IN BROAD DAYLIGHT, CLAIRE IS RUNNING. SHE’S A WRECK, WANDERING AIMLESSLY ACROSS THE (CONT.)

6 (CONT.) ISLAND. SHE SEEMS TO BE FLEEING SOMETHING OR SOMEONE, SHE THEN BREAKS ACROSS TO A SMALL CLEARING, IT’S HARD FOR US TO TELL WHERE SHE IS. SHE’S ESCAPING OR LOOKING FOR AARON, ALTHOUGH, SHE DOESN’T KNOW WHERE TO LOOK AND DOESN’T KNOW WHERE TO HIDE. SHE COLLAPSES IN THE GRASS, ON HER KNEES, SOBBING. CLAIRE: (TO HERSELF, SOBBING) WHY...WHY DID I LEAVE HIM? (SOBS) I WAS SO...STUPID. I’M SORRY AARON. SHE COLLECTS HERSELF ENOUGH TO NOTICE SOMETHING IN THE DISTANCE. SHE STANDS UP AND WALKS TOWARDS IT. IT’S THE CABIN IN BROAD DAYLIGHT. DESERTED IN MUCH THE SAME MANNER THAT ILANA FOUND IT IN ‘THE INCIDENT’. SHE WALKS TOWARDS THE CABIN, CAUTIOUSLY, HOPING THAT MAYBE SHE’D FIND JOHN LOCKE THERE? IT’S HARD TO SAY, SHE FEELS HELPLESS AND DESPERATE. SHE LOOKS AROUND THE RIGHT SIDE OF THE CABIN, WE SEE MUCH OF THE SAME THING WE SAW IN ‘THE INCIDENT’, THEN SHE SUDDENLY FEELS AS IF SHE WEREN’T ALONE, AND OF COURSE...SHE’S NOT. SHE LOOKS OVER AND RECOGNIZES A MAN, WE ARE FIXED ON HER FACE AS SHE ADDRESSES HIM. CLAIRE: (WEARY, SNIFFLES) EKO? WE THEN SEE EKO, SITTING IN THE CHAIR, SMILING. HE SPEAKS. EKO: (COMFORTING) I’M HERE TO GUIDE YOU, CLAIRE. CLAIRE: (TEARING UP, FEARFUL) AREN’T YOU DEAD? EKO: (CALM) I AM DEAD, CLAIRE BUT I AM ALSO HERE. (PAUSE) I AM HERE TO TELL YOU ABOUT AARON. (CLAIRE SURPRISED, SHOCKED) HE IS FINE. HE IS WITH KATE AND YOUR BROTHER. KATE IS TAKING VERY GOOD CARE OF HIM. AARON IS FINE OFF THE ISLAND. CLAIRE: (CRYING) SO, SHE’S WITH KATE AND...JACK? AND HE IS SAFE AND HAPPY? (EKO NODS) WHEN CAN I SEE HIM? EKO: YOU WILL SEE HIM SOON. (PAUSE) YOU MUST LISTEN CAREFULLY TO THIS, CLAIRE. (PAUSE) THE MAN WHO LOOKS LIKE YOUR FATHER (CLAIRE REACTION) IS NOT YOUR FATHER. CLAIRE: (PERPLEXED) WHAT...WHAT DO YOU MEAN? EKO: HE TOLD YOU A MIXTURE OF TRUTHS AND LIES, TO GET YOU TO BELIEVE IN HIM. FIRST HE TOLD YOU THAT JOHN LOCKE WAS THE ONE WHO TOOK AARON, THIS IS NOT TRUE. IT WAS ANOTHER MAN WHO HAS STOLEN HIS IMAGE. (CLAIRE PUZZLED) THEN HE TOLD YOU A TRUTH, THAT AARON WAS WITH KATE AND YOUR BROTHER. THIS IS TRUE. CLAIRE: WHAT AM I SUPPOSED TO SAY TO THIS? HOW DO I BELIEVE YOU? YOU’RE SUPPOSED TO BE DEAD! EKO: (CALM) YOU DON’T HAVE TO SAY ANYTHING. YOU’LL HAVE TO HAVE FAITH IN MY WORDS. JUST DO NOT TRUST HIM ANYMORE AND DO NOT TRUST THE MAN WHO LOOKS LIKE JOHN LOCKE, IF YOU EVER SEE HIM AGAIN. (PAUSE) MOST LIKELY THEY WILL (CONT.)

7 (CONT.)RECAPTURE YOU BUT THEY WILL NOT HARM YOU. YOU ARE TOO VALUABLE TO THEM. CLAIRE: (CRYING WORRIED) SO, AM I SUPPOSED TO JUST GO BACK? ARE JACK AND KATE COMING TO RESCUE ME? EKO: YOU HAVE SOMEONE WATCHING OVER YOU. BUT BECAUSE OF THE CIRCUMSTANCES, I WAS ASKED TO SPEAK WITH YOU. CLAIRE: (DESPERATE FAITH) CAN YOU... TALK TO KATE? EKO: (SMILES) I CAN SEND HER A MESSAGE FROM YOU. CLAIRE: (NODDING YES) JUS..TELL HER...TELL HER TO NEVER BRING HIM BACK HERE. (SOBS) JUST TELL HER THAT. EKO: I PROMISE TO SEND IT, I WILL TELL HER IT’S FROM YOU. CLAIRE HEARS VARIOUS NOISES FROM OUTSIDE THE CABIN, APPARENTLY THEY’VE TRACKED HER DOWN. SHE LOOKS BACK OVER TO WHERE EKO WAS SITTING, IT’S AN EMPTY CHAIR. CHANGE SCENES. BRAM AND FRANK STAND IN THE DOOR OF ‘THE STAFF’ STATION. THEY CONVERSE AFTER DRINKING SOME WATER. BRAM: (SERIOUS) GET GOOD AND HYDRATED, FRANK. THEN LEAVE AS SOON AS POSSIBLE. GO STRAIGHT TO THAT ISLAND, START WORKING ON BACKING UP YOUR PLANE AND WAIT FOR MY MESSAGE. FRANK: ALRIGHT MAN, IF YOU SAY SO. I DON’T EVEN KNOW IF THE ELECTRONICS WOULD EVEN WORK OR WHAT... BRAM: TRY TO STAY WITHIN THE TREELINES IF AT ALL POSSIBLE. WE ONLY HAVE ONE GUN BETWEEN US, AND SORRY BROTHER, I HAVE TO KEEP IT. WITH NO BEARING, NONE OF THIS MATTERS. FRANK: SO WHERE YOU GOIN’ TO GET THAT BEARING? BRAM: I’M GOING TO THE TEMPEST STATION, IT’S LINKED UP DOWN THERE. THEN I’M GOING TO SEND YOU A TELEGRAPH. FRANK: YEAH, YOU’VE SAID THAT TWICE, WHAT DO YOU MEAN? BRAM: (SERIOUS) TELL ME SOMEBODY WHO DIED HERE, THAT YOU KNEW AND THAT YOU CARED ABOUT. FRANK: I HAD A FRIEND, SETH NORRIS, HE DIED IN THE 815 CRASH BRAM: GOT IT. I’M OFF FRANK, BEST OF LUCK (EXTENDS HAND) FRANK: (SHAKES) HEY, STILL GOT ONE GOOD HAND TO SHAKE...HEY, WHY YOU ASKIN’ ME ABOUT DEAD PEOPLE? BRAM TAKES OFF WITHOUT ANSWERING, LEAVING FRANK TO STARE OFF BEHIND HIM. WE END THE SCENE ON A TROUBLED FRANK. WE THEN PICK UP IN SAMAEL’S LAIR, WE ARE FIXATED DOWN IN THE ROOM. WITH HIM SPEAKING, CLAIRE AND KATE ARE MISERABLE ON THE FLOOR, CRYING AND SCREAMING AT HIM AND JACK. RICHARD STILL STANDS WITH HIS HANDS TIED. TO HIS LEFT STANDS BEN LINUS. BEHIND HIM SAYID AND FOUR TEMPLE GOONS. JACK LAYS BLEEDING.

8 SAMAEL: (TURNS TO THE WOMEN) YOU DIDN’T REALLY THINK I WAS GONNA CUT YOU, DID YOU? KATE: (THROUGH THE CLOTH IN HER MOUTH, CRYING) YOU BASTARD! SAMAEL: (SNIDE) WELL, NOT YET, SWEETHEART. WE STILL HAVE TO SEE IF THE MAGNIFICENT RICHARD HAS NOW DECIDED TO TALK. RICHARD: (SERIOUS) THIS WON’T WORK, HE WON’T SHOW UP HERE. CLAIRE: (MUFFLED) HELP HIM! HE’S BLEEDING TO DEATH! SAMAEL THEN TURNS TO CLAIRE. INDEX FINGER ON HIS MOUTH. SHH. SAMAEL: (TO RICHARD) NO, RICHARD, I THINK YOU’RE LYING. I THINK YOU WOULD DO ANYTHING FOR SOMEONE TO HELP POOR JACK HERE BEFORE HE REACHES THAT ...CERTAIN ‘NEAR DEATH POINT’, WHERE JACOB HAS NO OTHER CHOICE BUT TO JUMP RIGHT IN AND USE HIS ONLY CHANCE. (PAUSE) HIS ONLY CHANCE LEFT. BEN: (PIPING UP) CAN I TAKE THE GIRLS OUT OF HERE? SAMAEL: (PUT OFF) WHAT IS IT WITH YOU AND THESE GIRLS, BEN? YOU THINK EITHER ONE OF THEM WOULD GIVE YOU THE TIME OF DAY, EVEN IF YOU SAVED THEM? (PAUSE) YOU’RE STILL WEAK. BEN IS SHOWN SORT OF EMBARASSED. A QUICK CUT SHOWS RICHARD REACTING TO SOMETHING, HE HAS NOTICED HIS MEN IN THE ROOM, THIS ALONE SIGNALS HIM TO TRY AND ASSIST. RICHARD: (EXHALES) I’LL GET YOU IN THE DOOR, SAMAEL. SAMAEL: (FACETIOUS) AH, THE AGELESS WONDER CONCEDES. WHAT WAS IT? DIVINE INTERVENTION? RICHARD IGNORES HIM FOR NOW. WE THEN SEE THAT KATE IS TRYING TO CRAWL OVER TO JACK, WHEN SAMAEL PUSHES HER OVER WITH HIS FOOT. HE THEN JUST POINTS AT CLAIRE, AS IF TO WARN HER. SAMAEL: OK, RICHARD, YOU AND I CAN GO IN THE NEXT ROOM AND DISCUSS THIS. (TO SAYID) YOU AND (POINTS) THESE TWO, WATCH SHEPHARD! YOU (POINTS TO THE OTHER TWO GOONS) TAKE THESE WOMEN OUT OF HERE. SAMAEL THEN WALKS OVER TO BEN, FACE TO FACE. SAMAEL: (CHASTIZING) YOU CAN BRING RICHARD YOURSELF, SEEING HOW YOU PROBABLY STILL HAVE FEELINGS FOR HIM AND ALL. BEN LOOKS AT HIM LIKE AN ADMONISHED PUPPY. SAMAEL AND RICHARD, ESCORTED BY BEN LEAVE THE ROOM. JACK IS SHOWN ON THE FLOOR IN A POOL OF BLOOD, JUST LAYING THERE, SILENT. AS BEN WALKS BY HE GLANCES OVER AT JACK, WHO LAYS THERE WITH HIS EYES CLOSED. SAYID AND TWO OF THE TEMPLE GOONS STAND OVER JACK. THE OTHER TWO PICK UP KATE AND CLAIRE. ONE LAST SHOT OF GABRIEL IN THE FAR CORNER OF THE ROOM, HE MOTIONS TO HIS MEN. ACT FOUR:

9 WE BEGIN IN THE TEMPEST. CHARLES WIDMORE SEATED AT A TABLE, READING SOMETHING, WHEN HIS NUMBERS GUY, STEWART, APPROACHES HIM TO SPEAK. CHARLES TAKES OFF HIS GLASSES AND TURNS TO HIM. CHARLES: WELL, WHAT’S THE VERDICT? STEWART: WE’VE GOT THE NEW BEARING, SIR. WE’VE ALSO TAPPED INTO THE MAINFRAME AT THE TEMPLE STATION. CHARLES: ALRIGHT, EXCELLENT WORK(SHOUTING OFFSCREEN) WILCOX! AN ARMED WILCOX COMES FORWARD TO THE TABLE. WILCOX: YESSIR? CHARLES: STEWART IS GOING TO GIVE YOU A NUMBER, A SIMPLE THREE DIGIT NUMBER. (TO STEWART) WHAT IS IT? STEWART: IT’S 3-2-7, SIR. CHARLES: (TO WILCOX) TAKE THAT NUMBER TO MY DAUGHTER, WILCOX. THAT IS YOUR ONLY JOB RIGHT NOW. I TRUST YOU CAN REMEMBER IT? (WILCOX NODS) SHE AND HER HUSBAND HAVE EARNED THEIR TICKET TO LEAVE AS FAR AS I’M CONCERED. GO, NOW. (WILCOX EXITS)NOW ONTO THE OTHER BUSINESS (TO STEWART) YOU’RE IN THE MAINFRAME? STEWART: MORGAN AND I ARE JUST WAITING FOR THE COMMAND, SIR. CHARLES: LET’S GET DOWN TO IT, SHALL WE? CHARLES STANDS UP AND LEAVES THE SCREEN WITH STEWART. THE SCENE ENDS. WE ARE BACK IN SAMAEL’S LAIR. GABRIEL HAS BROUGHT HIS MEN TO A POINT WHERE THEY CAN JUMP DOWN. HE SPEAKS. GABRIEL: (DEAD SERIOUS, QUIET) THIS IS IT, RIGHT HERE. (TO HIS MEN) ALL FIVE OF US NEED TO LIBERATE SHEPHARD FIRST. SAWYER: (INTERUPTING, QUIET) WHAT ABOUT THE GIRLS? GABRIEL: (QUIET) YOU CAN GO GET THEM BY YOURSELF. (PAUSE, SAWYER REACTION) SORRY, WE HAVE TO EXTRACT SHEPHARD AND THEN GO GET RICHARD, OUR HANDS ARE FULL. SAWYER SORT OF ROLLS HIS EYES AS IN “GREAT”, THEN NODS. GABRIEL: (HUSHED) I’M GOING FIRST. THEY’LL RUN FOR COVER AS SOON AS THEY HEAR US, SO (POINTS) YOU TWO, THROWN DOWN SOME COVER FIRE IF THEY NOTICE ME JUMP OVER THAT LEDGE. (POINTS) YOU FOLLOW ME, THEN THE REST. ON MY MARK, WE LIBERATE. GABRIEL LOOKS OVER THE LEDGE, THEY ARE IN THE FAR LEFT CORNER OF THE ROOM, IF FACING THE FRONT PORTION WHERE SAMAEL WAS ADDRESSING EVERYONE. OUT OF CLEAR LINE OF SIGHT, THEY STILL COULD BE HEARD. JACK LAYS TOWARDS THE FRONT WHERE HE WAS STABBED, SAYID AND TWO OTHER GUARD OVER HIM. CAMERA ON SAYID. SAYID: I’M SORRY ABOUT THIS JACK. I JUST WANT YOU TO KNOW, THAT SAYID JARRAH WASN’T FULLY COMPLICIT IN YOUR DEATH.

10 UNKNOWN TEMPLE GOON: LET’S JUST NOT TALK TO HIM, ALRIGHT? SAYID JUST STARES DOWN THE GOON, JACK MUSTERS SOME WORDS. JACK: (OUT OF BREATH) ARE...KATE...CLAIRE... SAYID: DON’T CONCERN YOURSELF WITH THEM, IT WAS YOU HE WANTED. YOU AND RICHARD. HE JUST NEEDED YOU TO SORT OF...GIVE HIM PERMISSION TO.. SAYID IS DISTRACTED BY A SOUND, ONE OF THE TWO TEMPLE GOONS WALKS TOWARDS IT AND TAKES A BULLET STRAIGHT THROUGH THE HEAD. IMMEDIATELY SAYID DRAWS A DEFENSIVE POSITION AND SCREAMS. SAYID: (FRANTIC) SAMAEL, SOMEONE IS HERE! THE OTHER TEMPLE GOON STANDING IMMEDIATELY IN FRONT OF SAYID BEGINS SHOOTING, WE THEN CUT TO THE NEXT ROOM. IT’S THE NUMBERS COLUMN ROOM, WHERE WE SAW SAMAEL AND HURLEY HAVE A DEEP DISCUSSION. THEY ARE STANDING AT THE FAR END OF THE ROOM, TRYING TO GET INTO THE ‘NEXT’ ROOM. THE ONE THAT SAMAEL HAS BEEN LOCKED OUT OF. SAMAEL, RICHARD AND BEN ARE GROUPED AT A STRANGE DOORWAY. SAMAEL LOOKS TO BEN AND SPEAKS. SAMAEL: (CASUALLY) GO AND SEE WHAT HE’S SCREAMING ABOUT. BEN: (WORRIED) I THINK HE SAID THAT SOMEONE WAS HERE. BEN GLARES AT RICHARD FOR A MOMENT, RICHARD JUST STARES BACK SILENTLY CONFIDENT. SAMAEL GROWS IMPATIENT WITH BEN. SAMAEL: (ANGERED) I SAID GO BENJAMIN!! BEN WALKS ABOUT 40 FEET. INTERMITTEN GUNSHOTS RING OUT IN THE NEXT ROOM, A SHEEPISH BEN WALKS TOWARDS THE ENTRANCE BACK INTO THE HALL, BARELY HOLDING UP HIS GUN. HE TURNS THE CORNER AND IMMEDIATELY HE’S MET BY GABRIEL. GABRIEL: (SERIOUS) TAKE ME STRAIGHT THERE, LINUS. BEN: (POINTS) HE’S BACK THAT WAY. BEN JUST DROPS THE GUN, TOTALLY UNSURE WHAT TO DO, HE RAISES HIS HANDS IN SURRENDER, GABE JUST GLIDES PAST HIM. BEN THEN WALKS INTO THE NEXT ROOM. AS HE STEPS INTO THE ROOM, HE SEES JACK BEING LIFTED BY TWO MEN, WITH SOME KIND OF CLOTH APPLICATION TO STOP THE BLEEDING ON HIS STOMACH. TWO MEN CARRY HIM, WHILE TWO MEN GUARD, ONE EACH FROM FRONT AND REAR, SAWYER IS ABSENT. ONE OF THEM NOTICES BEN. BEN CALLS OUT TO THEM IN A SCARED AND REMORSEFUL TONE. BEN: (TEARING UP) PLEASE, I WAS JUST FOLLOWING ORDERS. RICHARD/GABRIEL’S MEN JUST LEAVE, BARELY PAYING ATTENTION TO BEN LINUS, WHO STANDS FOR A MOMENT DUMBSTRUCK AND UNSURE, HE LOOKS OVER TO HIS RIGHT AND SEES THREE MEN ON (CONT.)

11 (CONT.) THE FLOOR. SAYID IS THE ONLY ONE MOVING. HE’S BEEN SHOT THREE TIMES IN HIS ABDOMEN. BEN GOES TO HIM TO HELP. THE NEXT SHOT WE SEE IS GABRIEL MOVING THROUGH THE COLUM ROOM, HEADED TO THE BACK WHERE WE JUST SAW SAMAEL AND RICHARD AT THE STRANGE DOORWAY. WE THEN CUT TO SAWYER. HE’S HIDING OUT. VARIOUS TEMPLE GOONS RUN BACK AND FORTH. IT’S DARK AND ALL HE HAS IS A SINGLE WEAPON, AND A HANDGUN AT THAT. HE STOPS TO THINK TO HIMSELF. THEN HEARS SHOTS, HIS FACE GROWS WEARY, HE MOVES INTO THE DARKNESS TO HIDE. THE SCREEN GOES BLACK AND THE SCENE ENDS. ACT FIVE: OPEN WITH CLAIRE, ALONE IN THE DHARMA TEMPLE ROOM, ABOVE GROUND, WHERE WE SAW HER BEING HELD WITH KATE IN A PREVIOUS EPISODE. SHE SITS QUIETLY AS THE DOOR OPENS. SAMAEL IS HERE. CLAIRE: (SURPRISE) JOHN, WHAT ARE YOU DOING HERE? SAMAEL: (SMILES) HELLO, CLAIRE, I JUST WANTED TO CHECK IN ON YOU, I HEAR YOU KEEP TRYING TO BREAK OUT. CLAIRE: (FRANTIC) IT’S BEEN THREE YEARS, JOHN, I’VE BEEN A PRISONER! HELP ME...(STOPS) CLAIRE SUDDENLY IS AWASH WITH THE MEMORY OF EKO’S WORDS. CLAIRE: (CAUTIOUS, WORRIED) DID YOU TAKE THE BABY, JOHN? SAMAEL: YES, CLAIRE AND I MADE SURE HE WAS SAFE. CLAIRE: SO YOU ...WERE THE ONE I SPOKE TO, WITH MY FATHER? SAMAEL IS NOW ONTO HER LINE OF QUESTIONING. SAMAEL: LOOK, YOUR FATHER TOLD ME THAT YOU DON’T BELIEVE HE’S ACTUALLY YOUR FATHER. AND THAT SOMEONE YOU KNEW FROM THE PLANE TOLD YOU THIS, AND YOU ACTUALLY BELIEVE THIS? CLAIRE: (SHY) YES. HE ALSO SAID YOU WEREN’T JOHN LOCKE. SAMAEL: WHY BELIEVE THESE LIES, LITTLE GIRL? CLAIRE: (BLUNTLY) WHO MADE THE CRIB FOR ME? SAMAEL: WELL, I DID, CLAIRE. YOU ASKED ME TO. CLAIRE: JOHN MADE IT (PAUSE) BUT I DIDN’T ASK HIM TO. SAMAEL IS A LITTLE PUT OFF. SAMAEL: YOU JUST BELIEVE WHAT YOU WANT TO BELIEVE, CLAIRE. YOU HAVE TO STAY HERE, EVEN IF IT’S AGAINST YOUR WILL. CLAIRE: (DEFIANT) YOU AREN’T JOHN LOCKE! JOHN WAS A GOOD MAN! SAMAEL JUST SNEERS AT HER, THEN LEAVES, SCENE SWITCHES TO A SWEATTY BRAM JOGGING ACROSS THE ISLAND. HE SEES A MAN WALKING AND DARTS INTO THE TREELINE. WE NOTICE THAT THIS MAN IS WILCOX. HE’S ARMED, SO BRAM LETS HIM MOVE AHEAD BUT DEDUCES THAT THE TEMPEST MAY BE OCCUPIED, HE ENTERS (CONT.)

12 (CONT.) WITH HIS GUN OUT, HAVING NO CHOICE BUT TO MOVE AHEAD WITH HIS PLAN. HE ENTERS TO SEE WIDMORE STANDING OVER TWO MEN AT THE COMPUTER DOWN BELOW. HE LOOKS AROUND TO MAKE SURE THERE AREN’T ANY OTHER ARMED GUARDS. HE THEN SHOOTS A WARNING SHOT. AT THE SOUND, CHARLES TURNS AROUND. CHARLES: (HOLDING UP HANDS) WAIT A MINUTE, NONE OF US ARE ARMED! A SHOT OF A FOCUSED BRAM. STARING DOWN THE BARREL OF HIS RIFLE TOWARDS CHARLES, DOWNSTAIRS. SUDDENLY HE EASES UP. BRAM: (EXHALES, SURPRISED) CHARLES? WIDMORE LOOKS UP AT HIM, DROPS HIS ARMS AND SMILES. CHARLES: (CALM) ABRAHAM, LONG TIME, NO SEE. BRAM: WHAT THE HELL ARE YOU DOING HERE, CHARLES? CHARLES: UNFINISHED BUSINESS...I SUPPOSE I SHOULD ASK YOU THE SAME QUESTION. BRAM: I NEED A BEARING, I’M TRYING TO GET SOME PEOPLE AWAY FROM THIS PLACE BEFORE IT ALL GOES TO HELL. CHARLES: WELL, I MAY BE ABLE TO ASSIST YOU BUT I NEED TO KNOW PRECISELY WHY YOU WANT THAT BEARING. BRAM: IT’S NICE TO SEE YOU HAVEN’T CHANGED. LOOK, I CAN FIND THE THING MYSELF IF YOU LET ME USE ONE OF THESE COMPUTERS. CHARLES: WE’RE OF THE SAME SIDE, ABRAHAM BUT WE MIGHT NOT BE OF THE SAME MOTIVATION. BRAM: (EXHALES) YOU GOTTA BE KIDDING ME. YOU’RE NOT GOING TO GIVE IT TO ME? CHARLES: WHO SENT YOU HERE? BRAM: WHO DO YOU THINK? CHARLES: JACOB SENT YOU HERE? BRAM: YES AND I’M THE LAST ONE LEFT WHO CAN HELP HIM. CHARLES: WHERE’S RICHARD? BRAM: NO IDEA, BUT I WOULD ASSUME THAT SAMAEL HAS CAUGHT THEM ALL. PROBABLY HAS THEM DOWN UNDERNEATH THE TEMPLE. CHARLES IMMEDIATELY IS ALARMED. HE TURNS AROUND TO MORGAN. CHARLES: (TO MORGAN) LOOKS LIKE WE’RE GOING TO NEED TO PUT IT ON HOLD. WE CAN’T FLOOD IT JUST YET. BRAM: (SHOCKED) YOU WERE GOING TO USE THE DHARMA WEATHER EQUIPMENT TO FLOOD IT OUT? THE TEMPLE AGAINST THE TEMPLE? CHARLES: (PROUD) PRETTY BRILLIANT, DON’T YOU THINK?

13 BRAM: ALL EXCEPT THERE ARE LIKELY GOOD PEOPLE DOWN THERE. INNOCENTS..JACOB’S PEOPLE, OUR PEOPLE. CHARLES: (PAUSE) OKAY THEN (TO STEWART) YOU STAY HERE AND WAIT FOR OUR SIGNAL. (TO BRAM) WE HAVE WALKIES, AND WE HAVE A FEW MORE WEAPONS. I SUPPOSE I’LL NEED TO GO DOWN THERE AND REDEEM MYSELF THEN. BRAM: YOU AND THIS GUY? (MORGAN NODS TO BRAM) CHARLES: (TO BRAM) I SUPPOSE HE CAN HELP US DOWN IN THE UNDERGROUND. HE’S THE BEST MILITARY MAN IN MY GROUP. BRAM: I CAN’T GO. I HAVE PROMISED A MESSAGE, SO IT HAS TO BE SENT, REGARDLESS OF ANY OF THE REST OF THIS. CHARLES: FAIR ENOUGH THEN, MORGAN AND I WILL GO BY OURSELVES. BRAM: (INSISTENT) I NEED THE BEARING, CHARLES...PLEASE. CHARLES. (A PAUSE, THEN FLAT) 3-2-7. BRAM THEN EXITS, CHARLES LOOKS OVER TO MORGAN. CHARLES: LOOKS LIKE IT’S JUST US THEN. (PAUSE) MAYBE I DESERVE THIS SUICIDE MISSION (PAUSE) FOR USING THAT POOR KID (EXHALES) AS A PROXY FOR MY GRANDCHILD. MORGAN DOESN’T KNOW HOW TO REACT, HE TURNS BACK TO BUSINESS. MORGAN: (PAUSE) SIR, SHOULD YOU TAKE THE WALKIE OR SHOULD I? CHARLES: I’LL TAKE IT. (TURNS BACK TO STEWART) IF YOU DON’T HEAR FROM US IN FOUR HOURS. FLOOD IT. CHARLES LEAVES US WITH A SERIOUS, DETERMINED LOOK. SCENE. ACT SIX: WE OPEN ON A BEACH. IT’S BEAUTIFUL, A PRISTINE DAY. CLAIRE SITS IN A CHAIR AT OCEANSIDE, SIPPING ON A COCKTAIL. SHE’S WEARING A BIKINI, WEARS SUNGLASSES, AND IS ACTING AS IF SHE DIDN’T HAVE A CARE IN THE WORLD. SHE LEANS BACK IN HER CHAIR AND WE PAN OUT A BIT, IT’S A PUBLIC BEACH. THIS IS CERTAINLY NOT THE ISLAND. A FEW ACCENTS OF PASSING KIDS TELL US WHERE WE LIKELY ARE. AUSTRALIA. BACK ON CLAIRE, RELAXING BACK IN HER CHAIR, THE SOUND OF THE WAVES CRASHING, THEN A VOICE. FEMALE VOICE: (OFFSCREEN) I JUST HAD TO TAKE HIM OUT OF THE SUN FOR A WHILE, I THINK HE’S FEELING BETTER. THE CAMERA CUTS TO SHOW CAROLE LITTLETON, DRESSED IN HER ‘SUN GEAR’ BACK TO CLAIRE, HER SMILE IS A MILE WIDE. STILL ON CLAIRE, SHE TAKES OFF HER SUNGLASSES AND LOOKS OVER NEXT TO CAROLE. WE SEE AARON. HE LOOKS A BIT OLDER NOW THAN WE LAST SAW HIM. CLAIRE SMILES AND SPEAKS TO HER SON. CLAIRE: YOU FEEL BETTER, HONEY? AARON: YEAH, I’M BETTER. GOT A DRINK.

14 CLAIRE: COME HERE AND GIVE ME A HUG BEFORE YOU RUN OFF AND PLAY. AARON DOES WHAT ANY BOY WOULD DO IN PUBLIC AND SLOWLY, RELUCTANTLY, GOES OVER TO HER TO HUG HER. AS IF HE ‘HAS’ TO. CLAIRE: (SOFT) I LOVE YOU BABY. AARON: (QUIET) I LOVE YOU TOO. THIS PEACEFUL, SWEET MOMENT IS INTERUPTED WITH A BANG. AND THEN ANOTHER BANG. SUDDENLY WE ARE WATCHING FROM THE INSIDE OF A ROOM.IT’S SOME GOONS OPENING A DOOR, WE ARE IN THE DHARMA TEMPLE STATION, CUT INSIDE THE ROOM TO CLAIRE WHO HAS BEEN SLEEPING. I GUESS SHE HAD A DREAM? WHO KNOWS? SHE WAKES TO SEE A MAN STEP ASIDE AND GIVE WAY TO ANOTHER MAN. HE WALKS THROUGH THE DOOR WITH A BAG IN HIS HAND. UNKNOWN TEMPLE GOON: GET UP! CLAIRE STIRS AROUND, THEY STAND HER UP AND START BINDING HER HANDS. THEY THROW THE BAG OVER HER HEAD. WE SWITCH SCENES. WE ARE OUT IN THE JUNGLE AS FRANK IS RUNNING THROUGH THE WOODS, HE’S SWEATING LIKE A FAUCET. HE STUMBLED THROUGH A PATCH OF TREES AND HE’S RIGHT BACK AT THE POINT WHERE HE WAS TIED TO THE TREE. NERVOUS AND DISGUSTED AT THE SIGHT OF THIS, HE LOOKS OVER THROUGH THE TREES AND KNOWS HE HAS TO CROSS THE CLEARING. HE WALKS TO THE EDGE OF THE TREELINE AND STARES AT THE SONIC FENCE. HE STOPS FOR A MOMENT AND CLOSES HIS EYES. HE BEGINS MUTTERING TO HIMSELF, PRAYING, I GUESS OR PERHAPS JUST CONTEMPLATING THE LAST FEW MOMENTS OF HIS LIFE. HE STOPS, EXHALES AND JUST TAKES OFF RUNNING LIKE HELL. WE SEE A SHOT OF HIM RUNNING FROM BEHIND, TRYING TO MAKE IT TO THE NEXT TREE LINE. SOME TENSE MOMENTS HERE, AND SOME TENSE MUSIC TO SUIT, AFTER A FEW MORE MOMENTS OF SEEING SWEATTY FRANK TRYING TO OUTRUN HIS SHADOW, HE DIVES INTO THE TREELINE. FRANK: (TO SELF, OUT OF BREATH) HOT DAMN. (EXHALES) THAT WAS TOUGH. FRANK IS LAYING ON HIS BACK WHEN HE HEARS A COMMOTION IN THE TREES. FRIGHTENED, HE COMPLAINS TO HIMSELF. THEN STANDS. FRANK: (QUIET) YOU GOTTA BE KIDDIN’ ME, ALL THAT RUNNIN’ AND NOW I DIE LIKE THIS? FRANK IS SHOWN GAZING INTO THE TREES WHEN HIS JAW DROPS. MALE VOICE: TELEGRAM, FRANK. FRANK: (SHOCKED, TO SAY THE LEAST) SETH? SETH: (CALM) THE BEARING IS 3. 2. 7. REPEAT IT BACK TO ME. FRANK: (WIDE-EYED) WHAT THE HELL IS THIS? SETH: TELEGRAM, FRANK. 3-2-7. YOU GOT IT?

15 FRANK NODS AND THEN PUTS HIS HANDS OVER HIS FACE AS TO RUB HIS EYES. WHEN HE LOOKS AGAIN, OF COURSE SETH IS GONE. SCENE CHANGE, AND WE ARE BACK IN THE UNDERGROUND OF THE TEMPLE ROOM. WE ARE ON SAWYER. HE’S BEEN MOVING AROUND, HE COWERS IN THE LIGHT FROM A TORCH NEARBY, WE CAN BARELY SEE HIM BUT WE CAN SEE A PAIR OF LEGS. WE DEDUCE THIS IS TEMPLE GOON WHO HAS BEEN ‘SAWYERED’. SAWYER IS DIGGING IN THIS GUY’S POCKETS, HE PULLS OUT SOMETHING AND BRINGS IT FORWARD. HE’S GOT SOME KEYS. HE MOVES FORWARD AGAIN FOR A BIT, CARRYING HIS GUN IN ONE HAND AND THESE KEYS IN THE OTHER. IT’S RELATIVELY QUIET OUTSIDE OF SOME INAUDIBLE VOICES THROUGH THE ADJACENT CORRIDORS. HE COULD BE NABBED AT ANY SECOND AND HE KNOWS IT. HE SEARCHES FOR A DOOR, JUST TO TRY TO GET SOMEWHERE AND HIDE. FINALLY AFTER MOVING AROUND FOR A BIT, HE SEES A DOOR, HE PULLS OUT THE KEYS TO GIVE THEM A TRY. AS WE SEE HIM WITH MORE LIGHT, WE NOTICE HE HAS A RIFLE ON HIS BACK, LIFTED FROM HIS GOON VICTIM. SAWYER: (FRUSTRATED, IMPATIENT) C’MON DAMMIT, WORK. THE DOOR UNLATCHES AFTER HE TRIES THE ROOM AND, JUST LIKE HIS, IT’S TORCH, INSIDE THE ROOM, CURLED UP FRIGHTENED SUN KWON. HE SPEAKS TO

THE THIRD KEY. HE STEPS IN ILLUMINATED BY A SINGLE ON THE ‘BED’ IS A HER.

SAWYER: (SHOCKED, QUIET) SUN? SUN LOOKS UP BUT IS UNSURE IF IT’S HIM OR WHAT...COULD BE ONE OF THOSE WALKING DEAD, SAWYER SEEKS TO PUT HER AT EASE. SAWYER: (QUIET) STAY QUIET, I’M GETTING YOU THE HELL OUT OF HERE! SUN: (SCARED) HOW DO I KNOW IT’S YOU? AND NOT ONE OF THEM? SAWYER: I GUESS YOU’LL KNOW WHEN THEY START TRYING TO KILL ME FOR BREAKING YOU OUT OF HERE. SUN BEGINS SOBBING. SAWYER APPROACHES HER TO UNTIE HER HANDS. HE THEN STOPS AND REACHES OUT TO HOLD HER FACE. SAWYER: THEY GOT KATE, CLAIRE, JACK...I DON’T KNOW WHO ELSE IS DOWN HERE BUT I’M GETTING YOU OUT OF HERE. SUN: (THROUGH SOBS) WHERE’S JIN? SAWYER: I DON’T HAVE THE FIRST CLUE, (QUIET) WE DON’T HAVE TIME TO TALK...IF WE GO BACK OUT THERE, I DON’T KNOW WHAT’S GOING TO HAPPEN. SAWYER THEN GETS HER HANDS FREE AND STICKS THE HANDGUN IN FRONT OF HER. SUN LOOKS AT AS IF TO SAY ‘I CAN’T USE THIS’ SAWYER: YOU EITHER LEARN QUICK OR WE’RE BOTH DEAD.

16 SCENE SWITCHES AND WE’RE BACK WITH GABRIEL AS HE APPROACHES THE STRANGE DOOR WE SAW EARLIER, AT THE FAR END OF THE NUMBERS COLUMN ROOM. HE HAS HIS GUN DRAWN AND SCOPES THE AREA FOR RICHARD AND SAMAEL, IT’S DARK BACK HERE BUT LIT WELL ENOUGH TO SEE THE STRANGE DOOR, SOMEWHAT. IT’S HUGE, GLYPHS ON THE OUTSIDE. BUT WE DON’T SEE ANYONE. GABRIEL APPROACHES DOWN THE HALL WHEN A NOISE IS HEARD, THE DOOR IS OPENING. BACK ON SAWYER AND SUN, MOVING DOWN A DARK TUNNEL AT A BRISK PACE, THEY CAN SEE DAYLIGHT PEEKING THROUGH A HOLE OFF IN THE DISTANCE. SAWYER STOPS, UNSURE, FINALLY HE SAYS TO HELL WITH IT AND HEADS FOR THE LIGHT SOURCE. HE HOLDS SUN’S FREE HAND AS THEY MOVE TOWARD THE LIGHT, THEY GET THERE AND NOTICE IT’S ELEVATED OFF THE GROUND A BIT. SAWYER TURNS TO SUN, AND INSISTS. SAWYER: YOU’RE GOING THROUGH, SUN, NO QUESTIONS ASKED. WHEN YOU GET OUT, RUN LIKE HELL, GO TO THE CAVES...SOMETHIN’ SUN LOOKS VERY FRIGHTENED, SHE LOOKS BACK AT SAWYER AND GIVES HIM A HUG. SAWYER TAKES HER HANDGUN AND STICKS IT IN HER BACK WAISTBAND. HE GRABS HER BAREFEET AND LIFTS HER UP, ALL OF A SUDDEN A VOICE FROM AFAR. UNKNOWN VOICE: (SOMEWHAT INDISTINCT) THERE, BY THE LIGHT! SAWYER MOVES AT A FURIOUS PACE, LIFTING HER UP, SUN REACHES THROUGH AND IS OUTSIDE. SAWYER HEARS THE FOOTSTEPS GROWING CLOSER. HE GRABS HIS RIFLE AND POINTS IT AT THE ONCOMING SOUND. WE END THIS SCENE LOOKING AT SAWYER, DETERMINED, SCARED, JUST PLAIN PISSED OFF. WE THEN ARE QUICKLY BACK TO GABRIEL AS THE DOOR IS OPENING. IT SLIDES OPEN, BARELY JUST ENOUGH TO SEE A PURPLISH/BLUE HUE BLEEDING OUT OF THE ROOM. GABRIEL APPROACHES AND THEN, SOMETHING IS BLOCKING THE PURPLE/BLUE LIGHT SEEPING OUT OF THE ROOM. IT’S A BODY. IT FALLS. GABRIEL RUSHES TO THE DOOR BEFORE IT’S CLOSED. AND STICKS IN HIS ARM, FUTILELY, THE DOOR CLOSES ON HIS ARM. WE SEE GABRIEL FROM THE BACK WRITHING IN PAIN AS THE DOOR CLOSES SEVERING HIS ARM. HE FALLS TO THE GROUND, BLEEDING AND SCREAMING IN PAIN, THE LIGHT CAST BACK IN THIS FAR SHADOWY CORNER, IN A HALLWAY OF THE NUMBERS COLUMN ROOM. GABRIEL IS LAYING NEXT TO RICHARD ALPERT. WHO IS NOW SHOWN, STABBED IN THE GUT AND APPARENTLY LIFELESS. AFTER A MOMENT, WE SEE A CUT UP INTO THE DARK HALLWAY LEADING TO THIS DOOR. A STRANGE SHADOWY FIGURE, MAKING STRANGE NOISES. GABRIEL IS SHOWN LOOKING UP, IN HORRENDOUS PAIN, HE SCRAMBLES FOR HIS GUN, WITH HIS LONE ARM. THE CAMERA PANS BACK TO THE FIGURE EMERGING FROM THE SHADOW. IT’S BEN LINUS AND HE’S DRAGGING A WOUNDED SAYID WITH HIM. HE EMOTIONALLY SPEAKS TO GABRIEL. BEN: (HORROR, WORRY) DON’T SHOOT...I’M SORRY! (PANICKED) I’M SORRY...I’M TRYING TO GET IT OUT OF US! LOST

17