609- "the Choice - Part One"

“THE CHOICE-PT.1”

Written by THUNDERSTORM

Disclaimer: Purely Fan Fiction No Infringement Intended

Episode Nine JULY 8, 2009

"THE CHOICE-PT.1" WE OPEN IN A HOTEL ROOM. DESMOND HUME, WITH HIS SHORT MILITARY HAIRCUT, SITS ON A BED. TRYING TO GET HIS WITS ABOUT HIMSELF. HE FLIPS THROUGH THE PAGES OF WHAT APPEARS TO BE A PERSONAL PHONEBOOK OF SOME SORT. HE STOPS AND QUICKLY GRABS THE PHONE AND BEGINS DIALING. THREE RINGS AND AN ANSWER. MALE VOICE (SCOTTISH): HELLO? DESMOND: (IMPATIENT) BILLY? IT’S DESMOND. BILLY: (AGITATED) WHY ARE YOU CALLING AT THIS HOUR, DES, YOU BEEN HITTIN’ THE SAUCE TONIGHT? DESMOND: NO, NO, BILLY...(CONFUSED) I’M A LITTLE...LOST. BILLY: (FLAT) SO, WHAT ELSE IS NEW? DESMOND: (BLUNT) WHY AM I IN DUBLIN? BILLY: ARE YOU HAVING ANOTHER FIT OR SOMETHING? DESMOND: (INSISTENT) JUST TELL ME BILLY: YOU’RE VISITING FAMILY, YOU SODDING IMBECILE. (PAUSE) YOU REALLY NEED TO GET SOME HELP, DES. (PAUSE) SEE YOU ON MONDAY. BILLY HANGS UP THE PHONE. DESMOND SEEMS TO HAVE A LOOK OF RECOGNITION ON HIS FACE. HE GRABS A CARRYING-CASE SITTING NEARBY AND BEGINS LOOKING THROUGH IT, WE SWITCH SCENES. WE’RE OUTSIDE, DAYLIGHT. DESMOND, DRESSED IN A MODEST LOOKING SUIT WALKS UP TO A DOOR ON SMALL BUILDING. A SHOT MOVING UP FROM HERE SHOW’S US A SIGN ON THE BUILDING, ‘MCCAULEY’S PUB’. WE CUT TO ISIDE OF THE PUB, DESMOND WALKS IN A FEW PACES AND THE BARTENDER LOOKS UP AT HIM. THE BARTENDER SPEAKS. BARTENDER (IRISH): WHAT’LL IT BE THEN? DESMOND: EH, I’M NOT HERE FOR A DRINK, I NEED TO SEE CHRISTINE HAMILTON, PLEASE. BARTENDER: SHE’S IN THE BACK ROOM, CLEANING. THE BARTENDER MOTIONS WITH HIS HAND AROUND THE SIDE, DESMOND WALKS AROUND AND WE THEN CUT TO THIS BACK ROOM. A BILLIARD’S TABLE IS SHOWN, WITH NOBODY PLAYING. THERE ARE SOME BOOTHS IN

2 THE BACKGROUND, A WOMAN, ABOUT 60 YEARS OLD, IS CLEANING OFF THE TABLES. SHE’S THE ONLY PERSON BACK HERE. DESMOND: AUNT CHRISTINE? CHRISTINE: (LOOKING UP) DEZZY? DESMOND WALKS OVER TO HER TO GIVE HER A BIG HUG. SHE HOLDS OUT HER HAND AS IF TO SAY ‘PLEASE SIT’ THEY BOTH SIT IN A BOOTH, ACROSS FROM EACH OTHER. CHRISTINE: SO, DID YOU BRING THEM? DESMOND: (UNSURE) UH, YEAH, I BELIEVE I DID. DESMOND REACHES INTO HIS CARRYING CASE AND PULLS OUT SOME PICTURES, HE REACHES ACROSS TO HAND THEM TO HER. SHE LOOKS THEM OVER AND GUSHES. CHRISTINE: (SMILES) I WAS SO HAPPY WHEN YOU CALLED. YOU SAID YOU FOUND THEM IN SOME OF YOUR BELONGINGS? DESMOND: (PUZZLED) UH...YEAH. THOUGHT YOU WANTED TO HAVE ‘EM. CHRISTINE: (PLEASED) OF, COURSE, I DON’T HAVE ANY PICTURES OF YOU AND YOUR MOTHER. (PAUSE, SOMBER) AFTER SHE DIED, I WAS AFRAID TO ASK YOUR FATHER FOR ANYTHING. DESMOND: YEAH, WELL, HE WASN’T THE COMPASSIONATE TYPE. CHRISTINE: ARE YOU STAYING IN DUBLIN FOR THE WEEKEND? DESMOND: (UNSURE) UH, I HAVE TO BE BACK IN GLASGOW BY MONDAY. (PAUSE) YOU KNOW...MY JOB. CHRISTINE: (SMILES) I WAS SO PROUD, WHEN I HEARD YOU JOINED THE ARMY. YOUR MOTHER WOULD HAVE BEEN VERY PROUD AS WELL. DESMOND: (SAD) YEAH. CHRISTINE: SO, WHAT ABOUT YOUR BROTHERS? DESMOND: (AWKWARD) I DON’T KNOW, (PAUSE) I SUPPOSE THEY’RE FINE. I CAN’T REMEMBER THE LAST TIME I TALKED TO THEM. CHRISTINE: AND HAVE YOU REPLACED THE GIRL, YET? DESMOND: (SURPRISE) PENNY? NO. THERE’S NO REPLACING HER.

3 DESMOND THOUGHTS TURN TO PENNY, HE LOOKS OFF IN THOUGHT AND WE SWITCH SCENES. WE SEE PENNY, SITTING OUTSIDE IN A CHAIR, LOOKING WORRIED. BERNARD APPROACHES HER. BERNARD: UM, PENNY? (SHE LOOKS UP) DO YOU KNOW ANYTHING ABOUT WHAT HE WAS TALKING ABOUT? A SHOT OF WILCOX, SITTING ON THE GROUND, BY HIMSELF. PENNY: I HAVE NO IDEA. ALL HE SAID WAS THAT DESMOND NEEDED THOSE NUMBERS, THEY DON’T MEAN ANYTHING TO ME. BERNARD: (APREHENSIVE) UM...A FEW YEARS BACK...THEY HAD TO FOLLOW A CERTAIN BEARING TO GET BACK AND FORTH. FROM THIS BEACH TO THE FREIGHTER. (SHOT OF PENNY) UH, YEAH...ANYWAYS, I’M PRETTY SURE THAT’S WHAT IT’S FOR. FOR WHEN YOU LEAVE. PENNY: WHAT? YOU’RE NOT COMING WITH US? BERNARD: (CALM) NO. (PAUSE) NO, THIS IS OUR HOME NOW. PENNY: SO, DO YOU THINK DESMOND WILL FIND THE BOAT? BERNARD: (COMFORTING) YES, I THINK HE WILL. WE CUT BACK TO THE ELABORATE ROOM WITH THE LARGE FLAT SURFACE, THE ‘SOLDIERS’ HAVE RUSHED IN AFTER THE COMMOTION OF THE GIANT BALL OF WHITE LIGHT. JACK STILL LAYS ON THE TABLE, DESMOND IS LAID OUT FLAT ON THE GROUND. A SOLDIER SPEAKS. UNKNOWN SOLDIER-1: (SERIOUS) CHECK HIS PULSE, IT DOESN’T LOOK LIKE HE’S BREATHING. A SHOT OF DESMOND LAYING ON THE FLOOR, THE THREE ‘SOLDIERS’ CHECK HIS VITAL SIGNS. IN THE BACKGROUND WE BARELY SEE THE BODY OF JACK. UNKNOWN SOLDIER-2: NOTHING. NO PULSE. STAYING FIXED ON THIS SHOT, SOME ETHERAL MUSIC BEGINS TO BLEED OVER THE ACTION, WE SEE THE BODY OF JACK MOVING IN THE BACKGROUND. IT’S PRETTY FREAKY. ONE OF THE SOLDIERS HAS NOTICED AND STANDS STRAIGHT UP, WHICH GRABS THE ATTENTION OF THE OTHER TWO. ALL THREE OF THEM NOW TURN THEIR ATTENTION TO THE MAN ON THE TABLE, HIS LEGS TURNING TOWARDS THEM, THEN DROPPING DOWN, WE PAN BACK OUT AND LOOK AT THIS MAN, WHO IS STARING DOWN AT DESMOND. UNKNOWN SOLDIER-1: IS IT YOU?

4 DEAD JACK: WHO ELSE WOULD IT BE? LOST TITLE CARD ACT TWO: PICKING RIGHT UP WHERE WE LEFT OFF. IN THE SHOT, WE HAVE DEAD JACK IN THE CENTER, LOOKING DOWN AT DESMOND. THE THREE SOLDIERS STAND AROUND DESMOND, GAZING AT THE DEAD MAN. UNKNOWN SOLDIER-1: (SHOCKED, REVERENT) IT’S YOU, JACOB? THE KEY STILL WORKED? BUT I THOUGHT... JACKOB: (INTERUPTING, CONFIDENT) THE KEY WOULD ALWAYS WORK. THAT WASN’T THE POINT. UNKNOWN SOLDIER-1: I DON’T UNDERSTAND, SIR. SHEPHARD WAS SUPPOSED TO BE NEAR-DEATH, NOT DEAD. JACKOB: (SMILING) DON’T YOU KNOW THE PROPHECY? UNKNOWN SOLDIER-1: (CONFUSED) HE WHO WILL SAVE US ALL, LIES IN THE SHADOW OF THE STATUE. JACKOB: AND THERE YOU HAVE IT... JACKOB OPENS HIS HAND AND ‘GESTURES’ TOWARDS DESMOND. JACKOB: HE NOW LIES HERE. (PAUSE) DON’T WORRY, I’VE ALREADY HAD A TALK WITH HIM ABOUT ALL OF THIS. UNKNOWN SOLDIER-2: (CONFUSED) THIS MAN IS DEAD (PAUSE) AND YET YOU HAVE USED JACK SHEPHARD’S BODY? HOW CAN THIS MAN, DESMOND, SAVE US? JACKOB: BECAUSE (PAUSE) HE’S DEAD BUT HE’S ALSO STILL HERE. CUT TO DESMOND, STILL IN DUBLIN, EXITING THE PUB. HE WALKS ACROSS THE STREET, AND WE CUT TO SEE HIM STILL WALKING ELSEWHERE. FINALLY HE STOPS WHERE THERE IS A BENCH, APPARENTLY AT A BUS STOP. HE SITS AND BEGINS THINKING TO HIMSELF, WHEN A MAN SITS NEXT TO HIM. DESMOND LOOKS OVER AND WE SEE ACTUAL-JACOB. JACOB: HELLO THERE, FRIEND. DESMOND: (COURTEOUS) YEAH, GOOD AFTERNOON. (PAUSE) AMERICAN? JACOB: ONLY WHEN I NEED TO BE.

5 DESMOND: (CHUCKLES) DON’T WORRY, I LOVE AMERICANS. JACOB: (QUICK) SO, MR. HUME (SHOT OF DESMOND) ARE YOU GETTING KIND OF USED TO THIS...EXPERIENCE? DESMOND: (SHOCK) WHAT DID YOU SAY? HOW DO YOU KNOW ME? JACOB: I KNOW YOU DESMOND, BECAUSE I CHOSE YOU LONG AGO. I CHOSE YOU TO BE THE ONE WHO WOULD DECIDE. DESMOND: (INCREDULOUS) CHOSE ME FOR WHAT? DECIDE WHAT? JACOB: YOU’RE ABOUT TEN YEARS ‘OUT OF TIME’, AREN’T YOU? DESMOND: (SERIOUS) HOW DO YOU BLOODY KNOW ME? ARE YOU LIKE THAT WOMAN, ELOISE? ARE YOU PART OF THIS ISLAND MADNESS? JACOB: I AM A PART OF THAT ISLAND, DESMOND. (PAUSE) I CHOSE YOU TO MAKE THE DECISION. IT’S YOUR CHOICE. DESMOND: WHAT IS MY CHOICE? JACOB: (SMILES) JIMMY LENNON AND THE CRICKET BAT. (SHOT OF DESMOND) IF YOU DIDN’T GET SMACKED IN THE HEAD, WHAT DID YOU THINK WOULD HAVE HAPPENED? DESMOND: (HESITANT) I THOUGHT (PAUSE) I COULD CHANGE THINGS. JACOB: SO, HERE YOU ARE AGAIN. ONLY THIS TIME, THERE WILL BE NO CRICKET BAT. THERE WILL BE NO PHONE CALL TO PENELOPE. THERE IS ONLY YOU AND YOUR CHOICE. DESMOND: SO I CAN CHOOSE...TO CHANGE THINGS? THE BUS PULLS UP, THE BREAKS SQUEAL AND THE DOOR FLIES OPEN. JACOB: YOUR RIDE IS HERE, DESMOND. I HAVE TO GO. MAKE YOUR CHOICE, BROTHER. IT MAY NOT BE AS EASY AS YOU THINK. JACOB GETS UP AND PUTS HIS HAND ON DESMOND’S SHOULDER, HE SMILES AND THEN WALKS OFF. DESMOND IS SHOWN, LOOKING SHOCKED, AMAZED, EMOTIONAL, ALL OF IT. WE SWITCH SCENES. IT’S A FLASHBACK, CHARLES AND MORGAN ARE OUTSIDE, IN SOME TREES. CHARLES PULLS OUT HIS WALKIE AND RADIOS STEWART BACK AT THE TEMPEST STATION. CHARLES: STEWART? STEWART: (PAUSE) YESSIR.

6 CHARLES: IN AN HOUR WE WILL BE INSIDE THE TEMPLE, I WANT YOU TO FOLLOW TWO EXPLICIT INSTRUCTIONS, STEWART. STEWART: YESSIR, WHATEVER YOU SAY. CHARLES: ONE, SET THE TIMER TO FLOOD IN THREE HOURS. STEWART: OKAY SIR, CONSIDER IT DONE. CHARLES: DOES WILCOX HAVE A WALKIE? STEWART: HE DIDN’T HAVE ONE ON HIM BUT I THINK THERE MIGHT BE ONE IN SOME OF THE GEAR WE LEFT. CHARLES: YOUR SECOND ORDER IS THIS, WALKIE OR NO WALKIE, YOU WILL GET WILCOX, AND GET MY DAUGHTER PENELOPE AND ESCORT HER TO THE HYDRA STATION. DO YOU STILL HAVE THE MAPS? STEWART: YESSIR, I HAVE THE MAPS. I WILL TRY TO CONTACT WILCOX OR I WILL GO THERE MYSELF. CHARLES: GET HER THERE AND GET HER ON THAT PLANE, EVEN IF SHE WON’T GO WILLINGLY. IF ANYONE TRIES TO STOP YOU, KILL THEM. ACT THREE: WE PICK UP IN THE LOUNGE ROOM OF THE DHARMA TEMPLE STATION WHERE WE LAST SAW CINDY HELPING KATE AND CLAIRE ESCAPE. CHARLES WIDMORE AND HIS RIGHT HAND MAN, MORGAN ARE INFILTRATING THE ROOM, FROM THE SAME VENT KATE AND CLAIRE MOVED THROUGH. THE MOVE UP AND AROUND THE CORNER. CINDY IS STILL IN THERE TALKING TO TWO GOONS. ONE OF THEM CATCHES SIGHT OF CHARLES AND TURNS HIS GUN, CHARLES SHOOTS HIM DEAD. MORGAN KILLS THE OTHER MAN ALMOST INSTANTANEOUSLY, LEAVING CINDY STANDING ALONE. CHARLES SPEAKS, HOLDING A GUN ON HER. CHARLES: (SERIOUS) YOU AREN’T OF THEIR SIDE, ARE YOU? CINDY: (PANIC) WHAT DO YOU MEAN? PLEASE DON’T SHOOT ME. CHARLES: I CAN TELL BY LOOKING. YOU AREN’T ONE OF THEM. YOU NEED TO LEAVE THIS BUILDING, IN TWO HOURS IT WILL BE FLOODED. CINDY: (SCARED) NO...BUT THE CHILDREN? CHARLES: IF THERE ARE CHILDREN HERE THAT AREN’T INFECTED, GET THEM TO THE HYDRA STATION IMMEDIATELY. (PAUSE) DON’T BOTHER ALERTING ANYONE, EVEN IF YOU’RE THINKING ABOUT IT. YOU DON’T HAVE TIME. ALL OF THIS IS ENDING NOW.

7 BACK WITH STEWART, IN THE TEMPEST STATION, TRYING TO CALL WILCOX ON THE WALKIE. STEWART: WILCOX, COME IN, COME IN...COME IN, WILCOX A SHOT OF THE HELICOPTER CAMP, WILCOX HEARS THE FAINT CHATTER, HE RUNS OVER TO A DUFFELBAG AND PULLS OUT THE WALKIE. WILCOX: STEWART, WHAT’S THE WORD? STEWART: CHARLES SENDS A STRICT ORDER. YOU ARE TO TAKE PENELOPE AND BRING HER BACK THIS WAY. I WILL MEET YOU HALFWAY ON THE PATH TO THE TEMPEST. PENNY OVERHEARS THIS AND LOOKS OVER AT BERNARD, CURIOUS. STEWART: (FORCEFUL) YOU ARE TO TAKE HER, NO QUESTIONS ASKED AND ESCORT HER AT ALL COSTS. PENNY: (PIPING UP) I’M NOT GOING ANYWHERE WITHOUT DESMOND. WILCOX: (TO STEWART) I’LL BRING HER AND THEN MEET YOU HALFWAY. (TURNS TO PENNY) YOU HAVE TO COME WITH ME. PENNY: HOW MUCH MONEY DID HE PAY YOU TO TAKE ORDERS? THIS IS RIDICULOUS. (DETERMINED) I AM WAITING FOR DESMOND. WILCOX WALKS UP TO HER AND CLOCKS HER WITH THE BUTT OF THE RIFLE, KNOCKING HER OUT, BERNARD OBJECTS, DEFIANTLY. BERNARD: WHAT THE HELL ARE YOU DOING? WILCOX: LISTEN, OLD MAN, I’VE GOT MY ORDERS. BERNARD: (INSISTENT) SHE SAID SHE DIDN’T WANT TO GO, SO YOU SHOULD LET HER STAY. SHE’S NOT YOUR PROPERTY. WILCOX: YOU CAN JUST COME WITH US THEN, YOU CAN PICK HER UP AND CARRY HER, I NEED THE HELP, ANYHOW. ROSE EMERGES FROM THE OTHER SIDE OF THE ARGUMENT, CARRYING A RIFLE, APPARENTLY NABBED OFF ONE OF CHARLES’ DEAD MEN. ROSE: (FRIGHTENED) HE’S NOT LEAVING WITH YOU. BERNARD: (WORRIED) ROSE, LET’S NOT DO THIS, OKAY? ROSE: YOU CAN TAKE HER BUT BERNARD’S NOT LEAVING WITH YOU.

8 BERNARD: (SCARED) ROSE, PLEASE...I’LL JUST CARRY HER, OKAY? ROSE: (IRATE) NO!! I’VE HAD ENOUGH OF THIS... A SHOT RINGS OUT, WE SEE BERNARD’S FACE. HE’S EMOTIONAL AND THEN SUDDENLY IRATE. HE STORMS ACROSS TO TACKLE WILCOX. WHO TURNS QUICKLY TO SHOOT HIM, BANG, HE DROPS. A WIDE SHOT SHOWS ROSE AND BERNARD LAYING ON THE GROUND, BOTH WITH SINGLE BULLET WOUNDS. WILCOX THROWS PENNY OVER HIS SHOULDER. END SCENE. WE’RE BACK WITH DESMOND, HE’S BACK IN HIS HOTEL ROOM IN DUBLIN. THROUGH THE WINDOW WE CAN SEE IT’S NIGHTTIME. HE SITS BY THE PHONE, WAITS AND THEN PICKS IT UP AND DIALS. MALE VOICE (ENGLISH): HELLO? DESMOND: (SHY, UNSURE) UH, HELLO, UM...I’M SORRY TO BE CALLING YOU, I, FOUND YOUR NUMBER IT WAS ACTUALLY LISTED... MALE VOICE: YEAH AND WHY WOULDN’T IT BE? WHO IS THIS? DESMOND: (SHY) MY NAME IS DESMOND HUME. DO YOU REMEMBER ME? MALE VOICE: (PUZZLED) NO, SHOULD I? DESMOND: NO (PAUSE) I GUESS NOT. I’M SORRY I BOTHERED YOU, I WAS JUST...CONFUSED...WANTED TO MAKE SURE. MALE VOICE: WHAT THE SODDING HELL ARE YOU TALKING ABOUT? DESMOND: (EXHALES) NEVERMIND, CHARLIE. DESMOND HANGS UP THE PHONE, WITH A STRANGE LOOK ON HIS FACE. ACT FOUR: WE PICK UP AT NIGHTIME, A SUBTITLE READS ‘LONDON, ENGLAND’ WE SEE THE OUTSIDE OF A BUILDING, LOOKS LIKE A THEATRE, PEOPLE LINING UP, WE REALIZE WHAT’S GOING ON WHEN WE READ THE MARQUEE. ‘DRIVESHAFT LIVE TONIGHT, 8PM’. WE THEN CUT TO INSIDE, THE CONCERT IS GOING OFF, CHARLIE AND LIAM PLAY ‘YOU ALL EVERYBODY’ WE SEE A SHOT OF DESMOND IN THE CROWD. SMILING, HE’S GLANCING AT THE PRETTY GIRLS DANCING AROUND HIM. WE THEN CUT SCENES, CHARLIE IS BACKSTAGE, PARTYING IT UP, DRINKING, FLIRTING, WHEN HIS MANAGER APPROACHES. MANAGER: (LOUD, OVER THE NOISE) CHARLIE, SOMEONE HERE TO SEE YOU. SAYS HE KNOWS YOU OR SOMETHING. CHARLIE: (PLAYFUL) DOES HE HAVE ANY DRUGS? EH, SEND HIM IN.

9 DESMOND WALKS IN, SHY, LOOKS AROUND AND SEES A FEW GIRLS IN THE ROOM WITH CHARLIE, WHO IS BOOZING IT UP AND FLIRTING. DESMOND: (CAUTIOUS) I JUST WANTED TO MEET YOU FACE TO FACE. CHARLIE: WHO ARE YOU? YOU TOLD MY MANAGER YOU KNOW ME. DESMOND: MY NAME IS...DESMOND HUME. (UNSURE) I, UH, WENT TO SCHOOL WITH YOU A LONG TIME AGO. CHARLIE: OH, YEAH? I DON’T REMEMBER YOU? YOU LOOK A LITTLE BIT OLDER THAN ME, ANWAYS, MATE. SURE YOU’RE NOT LYIN’ JUST TO GET BACKSTAGE AT THE ‘ROCK SHOW’? DESMOND IS SHEEPISH, HE DOESN’T EVEN KNOW WHY HE CAME. HE LOOKS OVER AT THIS DRESSING ROOM AND SEES SOME DRUGS LYING BACK THERE, WE SEE DESMOND’S FACE, DISAPPOINTED. DESMOND: I’M JUST TRYING TO MAKE A DECISION. THAT’S ALL. CHARLIE: OH YEAH? WELL I’VE DECIDED TO PARTY ALL NIGHT AND SLEEP ALL DAY, MATE. WANNA JOIN IN? DESMOND: NO, CHARLIE, I JUST HAD TO...COME AND SAY HI. (PAUSE) ...SEE IF YOU REMEMBER ME. CHARLIE: (MATTER OF FACT) NOPE, DON’T REMEMBER YOU. CHARLIE GOES FROM DISINTERESTED, TO CURIOUS. HE’S LOOKING AT DESMOND, EVERYTHING IN THE SCREEN SLOWS DOWN AS CHARLIE GAZES AT DESMOND. THE SOUND DROWNS DOWN ALMOST TO MUTE, WE CAN BARELY HERE IT, AS A MELANCHOLY PIANO PLAYS OVER THE TOP. A SHOT BACK TO DESMOND, PEERING AT CHARLIE. HE LOOKS AT HIM, THEN NODS. BACK TO REGULAR VIDEO SPEED AND AUDIO VOLUME. DESMOND: OKAY THEN, TAKE CARE OF YOURSELF, CHARLIE. CHARLIE: WILL DO...UH, DESMOND, RIGHT? DESMOND NODS AND THEN WALKS OUT, SCENE SWITCHES. WE’RE ON KATE AND CLAIRE RUNNING THROUGH THE GRASS ON THE ISLAND. IN THE BACKGROUND, WE SEE THE TEMPLE WALL, THEY HAVE MADE IT OUT, COMPLETELY, ALTHOUGH NOT OUT OF HARM’S WAY ENTIRELY. THEY SLOW DOWN AND CATCH THEIR BREATH WHILE DUCKING INTO THE TREELINE. IT’S BEEN NON-STOP FOR THEM FOR A WHILE NOW. CLAIRE: (GASPING) WHAT DO WE DO NEXT? KATE: THEY COULD ALL STILL BE IN THERE, YOU KNOW?

10 CLAIRE: (PUZZLED) HE TOLD ME TO GET TO THE HYDRA STATION? KATE: THAT’S WHERE THEY HELD ME, SAWYER AND JACK. HER THOUGHTS IMMEDIATELY TURN TO THEM. WORRIED, EMOTIONAL. KATE: JACK’S PROBABLY DEAD. (PAUSE) SAWYER ...WHO KNOWS? CLAIRE: YOU ARE NOT GOING BACK FOR ANYONE, YOU HEAR ME? KATE: (NODS) FOR ONCE, I THINK MAYBE (PAUSE) I JUST HAVE TO LET THEM GO. LET THEM WORK IT OUT. (TURNS TO HER) I HAVE TO TRY AND GET YOU TO THAT PLANE. (PAUSE) HYDRA ISLAND? CLAIRE NODS AFFIRMATIVE. KATE: THEN LET’S GET MOVING (PAUSE) I WANT OUT OF HERE. WE’RE BACK WITH DESMOND AT A BAR IN LONDON, GETTING DRUNK AND JUST BLINDLY TALKING TO THE BARTENDER, WHO’S NAME IS ‘JOE’. JOE: ANOTHER ONE? DESMOND: YEAH, WHY NOT, I’M CELEBRATING. JOE: YEAH? WHAT ARE YOU CELEBRATING? DESMOND: (TIPSY) CHOICES, FRIEND. CHOICES. (PAUSE) I’VE GOT AN IMPORTANT CHOICE COMING UP. ONE THAT WILL DETERMINE...ALL SORTS OF THINGS. (CHUCKLES) JOE: SO YOU’RE CELEBRATING BECAUSE YOU’VE MADE A BIG LIFE CHANGING DECISION OR WHAT? DESMOND: YOU COULD SAY THAT (PAUSE) I’M SUPPOSED TO GO ON A BOAT RACE, ACROSS THE WORLD. (LAUGHS) ONLY THE THING IS, I’M PRETTY SURE THAT I’M NOT SUPPOSED TO, ANYMORE. JOE: (PLAYFUL) YOU’RE NOT MAKING SENSE, FRIEND, MAYBE THAT SHOULD BE YOUR LAST DRINK? DESMOND: (INCREDULOUS) PLEASE, I COULD STAND THAT WHOLE BOTTLE, MATE. (SMILES) NAH, IT’S JUST SOMETHING HAPPENED TO ME ABOUT TWO YEARS AGO. I WENT TO IRELAND, GOT MAD IN THE HEAD, DIDN’T MAKE IT BACK TO SCOTLAND FOR A WEEK. IT WASN’T MY FIRST OFFENSE. THE ARMY TOSSED ME IN THE SLAMMER FOR 6 MONTHS, THEN KICKED ME OUT. SAID I COULDN’T FOLLOW ORDERS. JOE: THAT’S A SHAME, BUT WHAT DOES THIS HAVE TO DO WITH WHETHER YOU GO ON A BOAT RACE OR NOT?

11 DESMOND: (SIGHS) BECAUSE THE BOAT RACE TAKES ME THERE. (PAUSE, THEN CHUCKLES) AND IF I DON’T GO...THEN NONE OF IT EVER HAPPENS. (PAUSE) CHARLIE PROBABLY DIES...OF A DRUG OVERDOSE INSTEAD OF DROWNING... JOE: AGAIN, MATE, NOT MAKIN’ SENSE. DESMOND: (SUDDENLY SERIOUS) WOULD YOU...IF YOU HAD THE CHANCE TO CHANGE SOMETHING ABOUT YOUR LIFE (PAUSE) BUT YOU KNEW THAT IT WOULD CHANGE SOMETHING ABOUT SOMEBODY ELSE’S LIFE...WOULD YOU? JOE: I DON’T KNOW, I GUESS IT DEPENDS ON THE CIRCUMSTANCE? DESMOND: WHAT IF YOU JUST COULD DO WHAT YOU WANTED BUT (PAUSE) YOU KNEW IN THE BACK OF YOUR MIND, YOU’RE SUPPOSED TO DO SOMETHING ELSE (PAUSE) SOMETHING THAT MIGHT MAKE SOMEBODY ELSE’S LIFE...BETTER? JOE: SOUNDS LIKE WHAT WE DO ALL THE TIME, DOESN’T IT? MAKE CHOICES, EACH AND EVERY DAY? DESMOND: (SHAKES HEAD) NAH, THE DIFFERENCE IS IN THE KNOWING. JOE: HOW COULD YOU, THOUGH? HOW COULD ANYONE KNOW? DESMOND: (FLAT BUT SERIOUS) TRUST ME. YOU CAN KNOW. ACT FIVE. WE RESUME ACTION, THE SAME EVENING. DESMOND IS BACK OUT SITTING ON A BENCH, WAITING FOR A TAXI. HE’S SITTING QUIET, THINKING, HEAD A BIT DIZZY FROM THE DRINKS. HE HAS A VISITOR. JACOB: (SITTING NEXT TO HIM) SO, I GUESS THE WHISKEY IS HELPING YOU MAKE YOUR CHOICE? DESMOND: (LOOKING UP, SURPRISED, BUT DEADPAN) YOU AGAIN? IT’S BEEN TWO YEARS. THOUGHT YOU’D FORGOT ABOUT ME. JACOB: NO, I COULDN’T FORGET ABOUT YOU DESMOND. YOU’RE A VERY IMPORTANT PERSON. DESMOND: (SMALL LAUGH) IS THAT RIGHT? WELL, ALL I’VE DONE SINCE I’VE BEEN ‘BACK’ IS THE SAME UNIMPORTANT CRAP I’VE ALWAYS DONE. (PAUSE) TOO SCARED TO CALL PENNY. CHARLIE DOESN’T KNOW ME. I CALLED JACK AND JUST HUNG UP. (PAUSE) WHAT I DON’T UNDERSTAND, IS...WHAT IF I CHOOSE TO GO?

12 JACOB: THEN THINGS ARE AS THEY ALWAYS WERE. YOUR LITTLE EXCURSION BACK HERE IS JUST LIKE, DEJA-VU. ONLY A LITTLE BIT DIFFERENT THIS TIME AROUND. DESMOND: (SCOFFS) AH, YES. COURSE-CORRECTION. THE OLD LADY TOLD ME ALL ABOUT IT. JACOB: YES AND YOU COULD HAVE SAVED THE MAN WITH THE RED SHOES. REMEMBER HIM? DESMOND: (SOBERING UP, SLIGHTLY) YEAH, I FIGURED AS MUCH. RIGHT BEFORE... JACOB: CRICKET BAT? DESMOND LAUGHS. JACOB: IT’S THE CHOICE YOU MAKE, DESMOND. YOU EITHER CHOOSE TO HAVE YOUR OLD LIFE AND ALL IT’S UPS AND DOWNS. OR YOU DECIDE TO TRY THAT AGAIN, FROM HERE ON OUT. (PAUSE) AND THAT WILL BRING IT’S OWN UPS AND DOWNS. (PAUSE) WASN’T TOO COMFORTING TO SEE CHARLIE PACE SO STRUNG OUT, WAS IT? DESMOND: (SOFT) ARE THEY ALL LIKE THAT? ALL THOSE PEOPLE FROM THE PLANE? (PAUSE) FROM THE ISLAND? JACOB: DESMOND, THEY ARE WHERE THEY ALWAYS WERE. CHARLIE ALWAYS HAD THAT DRUG PROBLEM. BUT IF YOU DECIDE TO NOT GO ON THAT BOAT RACE, THEN THINGS WILL BE DIFFERENT. DESMOND: I LEFT ABOUT FOUR MONTHS FROM NOW...TO GO TO LOS ANGELES. GOT A BOAT...DID A LOT OF TRAINING. (SMILING) I MET PENNY IN LOS ANGELES, AT A STADIUM RIGHT BEFORE I LEFT. IT WAS THE NIGHT AFTER I WATCHED THIS BLOODY FANTASTIC FIREWORKS SHOW. JULY 5TH. (PAUSE) I REMEMBER IT WELL. JACOB: IT’S YOUR DECISION, DESMOND. JUST REMEMBER, FROM THAT POINT ON, IF AND WHEN YOU DO THINGS DIFFERENTLY, THINGS WILL NOT BE PREDICTABLE ANYMORE. YOU WILL BE A SUBJECT TO COMPLETE CHANCE AND HAPPENSTANCE AS MUCH AS ANYONE ELSE. DESMOND: (CURIOUS) WHAT HAPPENS TO ALL THAT CAME BEFORE? ALL OF THOSE THINGS THAT HAPPENED ON THE ISLAND? THE THREE YEARS I SPENT IN THE BLOODY HATCH? JACOB: (SMILING) THAT ALWAYS HAPPENED. IT JUST WOULDN’T HAVE HAPPENED, ANYMORE. (PAUSE) IF I SEE YOU AGAIN, THEN I’LL KNOW WHAT CHOICE YOU’VE MADE. (PAUSE) GOOD LUCK, DESMOND.

13 JACOB GETS UP AND WALKS DESMOND. WE CUT TO KATE TREES, THEY EMERGE IN A FRONT, CHATTING AS THEY

OFF. WE LEAVE THE SCENE ON AN ANXIOUS AND CLAIRE, WALKING THROUGH THE CLEARING. WE WATCH THEM FROM THE QUICKLY WALK.

CLAIRE: HOW MUCH FURTHER IS THIS PLACE? (EXHALES) I’LL BE GLAD WHEN I CAN REST MY FEET. (PAUSE) THAT IS IF WE DON’T GET SHOT BEFORE THEN. KATE: IT’S NOT FAR FROM HERE, IT’S ON THE OTHER SIDE OF THE BARRACKS...I HAVEN’T BEEN BACK THERE SINCE THEY HAD US IN THOSE CAGES. (PAUSE, SAD) THAT WAS AWFUL. CLAIRE: (STOPS IN HER TRACKS, QUIET) IS THAT HURLEY? KATE: (AMAZED, SHOUTING) HURLEY! OFF AT A DISTANCE, WE SEE HURLEY STANDING ON A HILL IN FRONT OF THEM, HE TURNS TO KATE’S VOICE AND WE SEE HIM MOTION BEHIND HIMSELF, SAYING SOMETHING INAUDIBLE. THE CAMERA SHOWS KATE AND CLAIRE RUNNING TOWARDS HIM, THEN WE CUT BACK TO SEE HURLEY JOGGING TOWARDS THEM. AFTER A MOMENT, WE SEE JACKOB AND THE THREE SOLDIERS COME OVER THE HILL BEHIND HURLEY. THE GIRLS DON’T SEE HIM YET, CLAIRE RUNS STRAIGHT UP TO HURLEY AND GIVES HIM A GIGANTIC HUG. HE LIFTS HER OFF THE GROUND. HURLEY: (SHOCK, EMOTION) CLAIRE, OH MY GOD! HE PUTS HER DOWN AND GIVES KATE A BIG HUG AS WELL, HE TURNS BACK TO CLAIRE TO SPEAK. KATE IS FROZEN, SHE SEES JACKOB. HURLEY: (EMOTIONAL, SPEAKING FAST) WE THOUGHT YOU WERE DEAD, IT’S SO GOOD TO SEE YOU! WAIT UNTIL YOU SEE AARON, HE’S SO BIG AND LOOKS JUST LIKE YOU.. KATE: (INTERUPRING, SOFTLY) CLAIRE? CLAIRE LOOKS PAST HURLEY. JACKOB HAS WALKED UP TO ABOUT TEN FEET BEHIND HIM. HE STOPS. SMILING. KATE IS STILL FROZEN. CLAIRE: (TEARS) JACK? HURLEY: DUDE, I FOUND JACK AND THESE OTHER DUDES, THEY LIKE, SAVED ME. I WAS ABOUT TO PASS OUT. JACKOB: HELLO, CLAIRE. (SERIOUS) I NEED BOTH OF YOU TO KEEP HEADED WHERE YOU ARE HEADED. THERE IS A..

14 BEFORE JACKOB CAN FINISH HIS SENTENCE, CLAIRE HAS THROWN HER ARMS AROUND HIM. KATE WALKS UP FROM BEHIND. CRYING HER EYES OUT. KATE: (SOBS) IT’S NOT YOU, IS IT? YOU AREN’T EVEN BLEEDING. CLAIRE: (TO KATE) WHAT DO YOU MEAN? THEY SEWED HIM UP, RIGHT? KATE: (CRYING, TO CLAIRE) IT’S NOT HIM. HE WAS JUST STABBED. (TO JACKOB) YOU AREN’T HIM, ARE YOU? JACKOB: (SMILES) THAT DEPENDS ON WHAT YOU MEAN, KATE. CLAIRE: (TEARY) SO, ARE YOU LIKE HIM? THE MAN WHO LOOKS LIKE LOCKE? DID YOU STEAL JACK’S BODY? (PAUSE, SOBS) IS JACK DEAD? HURLEY LOOKS AT JACKOB, SAD, EMOTIONAL. HURLEY: JUST TELL US, MAN. (PAUSE) IS JACK DEAD? JACKOB: DO I LOOK DEAD? HURLEY: UH, NO. BUT NEITHER DID JOHN LOCKE. JACKOB: (SMILES) YOU THREE NEED TO JUST KEEP GOING WHERE YOU WERE GOING. I’M GOING TO GO TAKE CARE OF SOME BUSINESS. (PAUSE) KATE, (PAUSE) DON’T LOOK BACK, OKAY? KATE: (SOBS, HEARTBROKEN) LOOK BACK FOR WHAT? JACKOB: (CALM) GIVE ME THE WHITE STONE. (PAUSE) YOU WEREN’T SUPPOSED TO HAVE IT. KATE REACHES IN HER POCKET AND PULLS OUT THE STONE, SHE WALKS UP AND GIVES IT TO JACKOB, SHE CAN’T HELP HERSELF, SHE THROWS HER ARMS AROUND HIM. AFTER A MOMENT OF EMBRACE, SHE WALKS ON PAST HIM. HURLEY CAN BARELY LOOK HIM IN THE FACE, HE WALKS ON. CLAIRE SITS THERE, CRYING. CLAIRE: THIS ISN’T FAIR. I DIDN’T EVEN GET TO SPEAK TO HIM. JACKOB: YOU’RE SPEAKING NOW. (SMILES, PAUSE) GO AND BE SAFE. JACKOB AND THE THREE SOLDIERS WALK ON BY THEM, CLAIRE SITS STILL FOR A MOMENT LOOKING BACK AT JACK. KATE AND HURLEY HAVE STOPPED TO WAIT ON HER. SHE THEN TURNS TO LEAVE, END SCENE. ACT SIX: WE OPEN ON HYDRA ISLAND, WE SEE THE PLANE. SUN APPROACHES A MAN WHO IS STANDING OUTSIDE OF THE DOOR TO THE PLANE.

15 SUN: I’M HERE TO SPEAK TO THE PILOT. RANDOM 316 MAN: SORRY, I’M NOT SUPPOSED TO LET ANYBODY IN. SUN: (INSISTENT) I’M A FRIEND OF HIS, JUST LET ME IN. RANDOM 316 MAN: (SHAKING HEAD) NO CAN DO. SUN TRIES TO JUST WALK PAST HIM, FINALLY SHE JUST YELLS OUT. SUN: (LOUD) FRANK! (PAUSE) FRANK! IT’S SUN KWON! AFTER A FEW MOMENTS, FRANK APPEARS OUT OF THE DOORWAY. FRANK: (SURPRISE) I’LL BE DAMNED! YOU’RE ALRIGHT! FRANK JUMPS DOWN AND GREETS HER WITH A WARM HUG. FRANK: IS MY FERRYMAN STILL OVER THERE, DOING HIS JOB? SUN: YES, HE WAS VERY NICE. I EXPECT MORE PEOPLE MIGHT BE COMING BUT I AM NOT SURE. (PAUSE) WILL IT WORK? FRANK: WOULDN’T YOU KNOW, AMONG ALL THESE PASSENGERS WE HAVE AN ELECTRONICS WIZ? WHAT KIND OF LUCK IS THAT? BETWEEN ME AND HIM, WE’RE LOOKIN’ GOOD. SUN: (GRINS) WE HAD SAYID (PAUSE) HE COULD FIX ANYTHING. FRANK: (SUDDENLY SERIOUS) WHAT ABOUT JIN? SUN: (EMOTIONAL) ONE OF US HAS TO GO AND RAISE OUR CHILD. (TEARY) I HAVE NO ASSURANCE THAT HE’S EVEN ALIVE. I HAVE TO BE HERE. (PAUSE) FOR JI YEON. FRANK: (COMFORTING) YOU’RE MAKING THE RIGHT DECISION, SUN. IT WON’T BE LONG, WE’LL GET THIS THING FIRED UP, THEN I’LL TRY AND FLY US OUT OF THIS CRAZY GODFORSAKEN PLACE. SUN SMILES AND WE CHANGE SCENES. WE’RE IN A FAMILIAR PLACE TO US, ALTHOGH IT HAS BEEN AWHILE. AT THE STADIUM IN LOS ANGELES, FROM ‘LIVE TOGETHER, DIE ALONE’. DESMOND HAS COME TO LOS ANGELES. HE’S SITTING OUTSIDE OF THE STADIUM WAITING FOR HER. WE SEE JACK SHEPHARD DRIVE UP AND GET OUT OF HIS CAR. DESMOND JUST LOOKS OVER AT HIM, SADDENED TO KNOW HIS FATE. HE SAYS NOTHING, THE NEXT CAR PULLS UP AND IT’S PENNY. DESMOND: SO, HOW DID YOU FIND ME?

16 PENNY: THE LANDLORD AT YOUR FLAT TOLD ME YOU RUN HERE EVERYDAY. DESMOND: NO REALLY, HOW DID YOU FIND ME? PENNY: I HAVE A LOT OF MONEY, DESMOND. WITH ENOUGH MONEY AND DETERMINATION YOU CAN FIND ANYONE. (PAUSE) DID YOU READ YOUR BELOVED BOOK? THE ONE YOU WERE SAVING? DESMOND: (CONFIDENT) NO. AND I DON’T BELIEVE I EVER WILL. PENNY: I THOUGHT YOU MIGHT HAVE READ IT WHILE YOU WERE AWAY. DESMOND: IT ACTUALLY WASN’T SO BAD, I HAD A CHANCE TO DO A LOT OF THINKING. SIX MONTHS. (PAUSE) THAT’S ENOUGH TIME TO GO OVER A LOT OF THINGS IN YOUR HEAD. PENNY: WHY DIDN’T YOU WRITE TO ME? DESMOND: I DID, YOUR FATHER KEPT THE LETTERS FROM YOU. PENNY: (SCOFFS) ARE YOU SERIOUS? DESMOND: DEAD SERIOUS, PEN. LOOK, (PAUSE) I KNOW YOU’RE GETTING MARRIED BUT I AM A CHANGED MAN AND WHEN THE TIME COMES. I WANT TO BE WITH YOU. PENNY: WHY DIDN’T YOU JUST CALL ME WHEN WE WERE BOTH IN ENGLAND? IF YOU REALLY WANTED TO BE WITH ME. DESMOND: (UNSURE) I DIDN’T WANT TO BE TOO PUSHY, PEN. DIDN’T WANT TO...UPSET THE WAY THINGS SHOULD BE. PENNY: (CONFUSED) THE WAY THINGS SHOULD BE? ARE YOU GOING ON THIS STUPID BOAT RACE OR WHAT? DESMOND: NO. (SMILES) I DON’T HAVE A BOAT. (PAUSE) NOT ANYMORE. I GOT A BOAT AND THEN I GAVE IT BACK. I WAS HAVING SECOND THOUGHTS. PENNY: THEN WHY DID YOU EVEN COME ALL THE WAY HERE? DESMOND: WHY DID YOU COME HERE, PEN? DID YOU COME HERE FOR ME? (PAUSE) BECAUSE I CAME HERE FOR YOU. PENNY: (INCREDULOUS) YOU CAME TO LOS ANGELES, TO MEET ME? DESMOND: (EMOTIONAL, UNSURE) I WAS AFRAID, BUT I AM HERE NOW.

17 PENNY: MAYBE YOU SHOULD GO AND WIN THAT RACE. MAYBE THEN YOU WON’T BE AFRAID. MAYBE IT WILL PROVE SOMETHING TO YOURSELF. DESMOND: (WORRIED) NO, NO, PEN. I CAN’T GO. I’M STAYING HERE TO BE WITH YOU. PENNY: I THINK YOU’RE JUST AFRAID. I THINK YOU CAN’T MAKE UP YOUR MIND. YOU BACKED OUT OF OUR WEDDING AND NOW YOU’RE BACKING OUT OF THIS? DESMOND: (FLUSTERED) IT’S JUST A STUPID DAMN BOAT RACE! PENNY: RIGHT! SO JUST GO, THEN. MAYBE MY FATHER WILL BE IMPRESSED. SHOW YOUR COMMITMENT TO SOMETHING FOR ONCE. PENNY TURNS AROUND TO LEAVE, DESMOND IS IN SHAMBLES. CRYING OUT TO HER. SHE GETS IN THE CAR AND CLOSES THE DOOR. DESMOND: PENNY, IT WASN’T SUPPOSED TO BE LIKE THIS! PLEASE! IT WASN’T SUPPOSED TO HAPPEN LIKE THIS! LOST

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