610- "the Choice - Part Two"

“THE CHOICE-PT.2”

Written by THUNDERSTORM

Disclaimer: Purely fan fiction. No infringements intended.

Episode Ten JULY 9, 2009

"THE CHOICE-PT.2" WE OPEN AT NIGHT, WE SEE DESMOND HUME, STILL DRESSED IN HIS RUNNING GEAR, HE’S STANDING IN A PARKING LOT. AS HE LOOKS OVER WE SEE WHERE HE IS GOING. IT’S ELLIE’S CHURCH IN LOS ANGELES. WE THEN CUT TO INSIDE OF THE CHURCH, WE HEAR DESMOND KNOCKING ON THE OUTSIDE. ELOISE HAWKING THEN WALKS IN SCREEN AND ANSWERS THE DOOR. WE SEE DESMOND, HE SPEAKS. DESMOND: (INSISTENT) DO YOU KNOW WHO I AM? ELOISE: (HESITANT) NO. DESMOND: YOU’RE LYING. (PAUSE) I KNOW YOU HAVE THAT BOOK. I KNOW WHAT IT SAYS ABOUT ME. ELOISE: (SHOCK, CONCERN) THEN YOU KNOW WHAT YOU HAVE TO DO. SHE TRIES TO SHUT THE DOOR ON HIM. DESMOND: WAIT! I NEED YOU TO CLARIFY SOMETHING.(PAUSE) SOMETHING YOU TOLD ME...ABOUT SEVEN YEARS FROM NOW. ELOISE: (RESIGNED) FOR HEAVENS SAKE. ALRIGHT, WHAT IS IT? DESMOND: YOU TOLD ME THAT I HAD A CONVERSATION WITH DANIEL. YOU SAID WE TALKED IN OCTOBER OF 2001. WHEN I TOLD HIM...WHEN I TOLD HIM ABOUT MY SON. ELOISE: APPARENTLY I DIDN’T MAKE MYSELF CLEAR ENOUGH.(EXHALES, PAUSE) THAT SOUNDS RIGHT. DESMOND: WELL, THE DATES...THIS DIDN’T MAKE SENSE UNTIL NOW. I COULD HAVE NEVER TALKED TO HIM IN OCTOBER OF 2001. (PAUSE) I WAS ALREADY ON MY RACE ACROSS THE WORLD. ELOISE: THAT IS THE DATE IN THE BOOK, DESMOND. IF YOU HAVE ANY ISSUE WITH IT, YOU NEED TO TALK TO DANIEL. DESMOND: IS HE STILL IN ENGLAND? ELOISE: AS FAR AS I KNOW, HE SHOULD BE. WE SWITCH SCENES, DESMOND IS AT A PAY PHONE, HE’S DRESSED THE SAME, IT’S STILL DARK, IT’S THE SAME EVENING. PHONE RINGING. FEMALE VOICE (ENGLISH): OXFORD COLLEGE, PHYSICS DEPARTMENT. THIS IS BRENDA. HOW MAY I ASSIST YOU? DESMOND: DANIEL FARADAY, PLEASE.

2 BRENDA: PROFESSOR FARADAY IS OUT OF TOWN, ON BUSINESS. DESMOND: CAN YOU TELL ME WHERE? UH...I’M AN OLD FRIEND. BRENDA: ALL I CAN TELL YOU IS THAT HE’S IN NEW YORK. DESMOND: (DESPERATE) PLEASE, I’VE BEEN TRYING TO GET AHOLD OF HIM FOR SOME TIME NOW. CAN YOU JUST TELL ME WHERE HE IS IN NEW YORK? DO YOU HAVE A CELL PHONE NUMBER? BRENDA: I CAN’T GIVE OUT ANY PERSONAL INFORMATION BUT I CAN TELL YOU THAT HE'S ATTENDING A PHYSICS CONFERENCE THERE. DESMOND: (EXHALES, DISAPPOINTED) YEAH, THANKS. SCENE CHANGE, BACK WITH HURLEY, KATE AND CLAIRE, LOOKING PRETTY RAGGED. THEY HAVE MADE IT TO THE DOCK. RON, THE ‘FERRYMAN’ HAD ‘DOZED’ OFF. HE NOW LOOKS UP TO NOTICE THEM, WALKING DOWN THE DOCK, HE CALLS OUT. RON: UH, HELLO, THERE! YOU GUYS CROSSING, OR WHAT? KATE: (SAD) YEAH, WE’RE LOOKING TO GET ON THE PLANE. RON: DOESN’T LOOK LIKE YOU GUYS ARE ARMED (PAUSE) RIGHT? CLAIRE NODS HER HEAD ‘YES’. HURLEY JUST SITS SILENT. RON: COME ON THEN, LAST TIME I BROUGHT SOMEONE, THE PILOT TOLD ME IT WOULDN’T BE VERY MUCH LONGER ‘TIL HE GOT THE PLANE READY. SO I’LL TRY AND MAKE IT QUICK. KATE: (CURIOUS) YOU BROUGHT SOMEBODY ELSE? WHO WAS IT? RON: YEAH, YOU GUYS ARE JUST MY SECOND TRIP. I TOOK AN ASIAN LADY, I THINK HER NAME WAS...SUN? HURLEY: (FLAT) THAT’S IT? JUST HER (PAUSE) AND US? RON: UH-HUH. KATE IS SHOWN, LOOKING TO CLAIRE, THEY BOTH LOOK AT HURLEY. HURLEY: (SOMBER, DIRECT) DON’T EVEN THINK ABOUT IT. WE’RE LEAVING THIS PLACE FOR GOOD. ALL THREE OF US. THE THREE OF THEM LOAD UP WITH RON IN THE OUTRIGGER, THEY EMBARK TOWARDS HYDRA ISLAND. WE CHANGE SCENES. WE’RE IN THE JUNGLE WITH A WOUNDED ROSE AND BERNARD. BERNARD IS BLEEDING BADLY BUT HE MAKES HIS WAY OVER TO ROSE. HE’S GRAVELY WORRIED. ROSE IS BREATHING BUT NOT RESPONDING WELL. BERNARD: (TEARY) HONEY? HONEY, CAN YOU HEAR ME? (PAUSE) I’M GOING TO GO LOOK FOR HELP. I’M GOING TO TRY AND FIND JULIET. ROSE: (WEAK) JULIET...IS DEAD, BERNARD. (PAUSE) YOU’RE GOING TO NEED TO FIND JACK. (PAUSE) I’LL WAIT HERE. BERNARD: (FRANTIC) I’LL BE BACK AS SOON AS I CAN, I PROMISE. JUST KEEP THIS PRESSED ON THE WOUND. BERNARD HANDS HER A TOWEL, THEN STRUGGLES TO HIS FEET.

3 HOLDING HIS BLEEDING GUT. HE HAS NO IDEA WHERE TO GO OR WHAT TO DO. HE JUST TAKES OFF, AIMLESS. WEARY. CRYING. HE MAKES IT ABOUT THIRTY YARDS INTO THE JUNGLE. WHEN HE SUDDENLY STOPS. HE HAS A LOOK OF NEAR-RELIEF. EXHALES. BERNARD: (RELEIF) OH MY GOD. (TEARS) IT’S A MIRACLE. WE NOW SEE JACK SHEPHARD IN THE JUNGLE. WEARING A BUSINESS SUIT. WITH A PEACEFUL LOOK ON HIS FACE. BERNARD: (PANIC) ROSE HAS BEEN SHOT TOO, PLEASE HELP US. WE CUT BACK TO WHERE ROSE IS, JACK STANDS OVER HER. SHE LOOKS UP AT HIM AND SMILES. SHE SENSES A ‘JULIET’ VIBE. ROSE: (WEAK) I’M GLAD TO SEE YOU, JACK. JACK: (GRIN) YOU TOO ROSE. (PAUSE) BERNARD, I’M GOING TO NEED YOU TO CARRY HER TO THE CAVES. BERNARD LOOKS AT JACK, CONFUSED. ROSE SPEAKS BEFORE BERNARD CAN OBJECT. ROSE: (PEACEFUL) OK, JUST TAKE ME THERE, BERNARD. BERNARD: JACK, CAN’T YOU HELP US HERE, RIGHT NOW? JACK: (CALM) JUST APPLY PRESSURE ON THE WOUNDS, BERNARD. TAKE HER TO THE CAVES. (PAUSE) I’LL COME BACK AND CHECK ON YOU. BERNARD IS STILL CONFUSED, HE LOOKS DOWN TO ROSE. ROSE IS SMILING, LOOKING UP AT JACK. BERNARD THEN LOOKS UP AT JACK, I THINK SOMETHING MIGHT HAVE JUST DAWNED ON HIM. LOST TITLE CARD ACT TWO: WE RESUME IN DARKNESS, WE ARE IN THE LOWER TEMPLE. WE FAINTLY SEE SAWYER HIDING OUT, HE HAS A RIFLE BUT IS UNSURE OF HIS BEARINGS. WE CAN BARELY MAKE OUT TWO TEMPLE GOONS RUNNING PAST, AS SOON AS THEY CLEAR THE AREA, SAWYER DUCKS BEHIND THEM AND HEADS IN THE SAME DIRECTION THAT THEY CAME FROM. WE FOLLOW HIM FOR SEVERAL TENSE MOMENTS, WHEN HE DARTS ACROSS TO A DECENTLY LIT WALKWAY, HE PULLS OUT HIS GUN AND JUST WALKS AHEAD. WE CUT TO THE MAIN ROOM DOWN HERE, WHERE SAWYER SAW IT ALL GO DOWN, JACK BEING STABBED ETC. HE WALKS IN, WITH HIS GUN AIMED INTENTLY, WATCHING OUT FOR GOONS. HE HEARS A NOISE. HE FOLLOWS IT. WALKING DOWN THIS HALLWAY, HE SEES A TEMPLE GOON EMERGE IN FRONT OF HIM. HE QUICKLY SHOOTS AND DROPS HIM. HE KEEPS MOVING FORWARD, ANOTHER ONE POPS OUT, BANG, HE DROPS HIM TOO. HE COMES ALL THE WAY THROUGH AND IS NOW IN THE NUMBERED COLUMNS ROOM. WE LEAVE HIM HERE FOR NOW AND CHANGE SCENES. WE’RE WITH CHARLES WIDMORE AND MORGAN. THEY ARE IN THE DHARMA TEMPLE STATION, NEAR THE BIG WEIRD OBJECT ON THE TEMPLE LOGO. CHARLES LOOKS AT A COMPUTER SCREEN, WHILE MORGAN IS WORKING TO FIND SOMETHING ON THE SYSTEM.

4 MORGAN: SIR, I’VE CONFIRMED THAT IT’S ALL SET TO GO. CHARLES: HOW MUCH TIME? MORGAN: I DON’T HAVE AN EXACT NUMBER HERE, I WOULD ESTIMATE ABOUT 90 MINUTES. CHARLES: (WORRIED) I HOPE THAT IS ENOUGH TIME TO STOP THEM FROM ENGAGING IT. (PAUSE) OK, LET’S MOVE, WE CAN’T DO ANYTHING MORE HERE. (PAUSE) TO THE CHAMBER. CHARLES AND MORGAN HEAD OFF SCREEN, WE LEAVE THEM TO PICK UP WITH FRANK LAPIDUS IN THE PLANE. HE’S CHECKING FOR THE POWER TO THE ELECTRONICS, HE SITS AT THE PILOT’S CHAIR WITH HIS BANDAGED HAND SHOWING A BIT OF BLOOD SEEPAGE. HE HAS A MAN WORKING WITH HIM, THE 316 ELECTRONICS GUY, BRYANT. FRANK: OKAY, BRYANT, CONNECT THE GROUND ON IT AND PUT THOSE OTHER TWO FUSES BACK IN. (PAUSE) IT’S TIME TO TEST IT AGAIN. BRYANT’S VOICE: (UNSEEN) YOU GOT IT, FRANK. AFTER A MOMENT, BRYANT EMERGES FROM OUT OF HIS WORK AREA, HE SITS DOWN IN THE CO-PILOT’S CHAIR OUT OF BREATH. BRYANT: (TIRED) ALRIGHTY THEN. (PAUSE) TRY IT. FRANK LOOKS DOWN TO HIS INSTRUMENT PANEL, FLIPS A FEW SWITCHES AND THEN EXHALES. HE LOOKS OVER TO BRYANT. FRANK: HERE’S GOES NOTHIN’ FRANK FLIPS ONE LAST SWITCH AND THE WHOLE PANEL LIGHTS UP. FRANK: (EXICTED) WO-HOO! YEAH! FRANK GIVES BRYANT A ‘HIGH-FIVE’. HE THEN COLLECTS HIMSELF AND HIS MIND TURNS TO THE NEXT OBSTACLE. FRANK: OKAY THEN. (PAUSE) I’VE BEEN WAITING ON THIS ONE...FIGURED IF THE INSTRUMENT PANEL DIDN’T WORK...WHY BOTHER? BRYANT: YOU THINK IT WILL START? FRANK: LET’S HOPE SO. WE CUT JUST OUTSIDE, TO SEE SUN SITTING OUTSIDE, SHE’S JUST ON THE SAND LOOKING OUT AT THE MAIN ISLAND. SAD, WORRIED, LONGING FOR JIN. SHE HEARS A FAMILIAR VOICE. HURLEY’S VOICE: SO, WE GOING FOR A RIDE OR WHAT? SUN LOOKS OVER TO HURLEY, SHE SMILES AND GETS UP TO WALK OVER TO HIM. AS WE LOOK AT HER HUGGING HURLEY, WE ARE LOOKING AT HER FROM BEHIND HIM, WE SEE HER AS HE RELEASES HER FROM THE EMBRACE, SHE LOOKS TOWARDS US. AT OUR POINT OF VIEW ARE KATE AND CLAIRE. SUN HASN’T SEEN CLAIRE IN A LONG TIME. SUN: (TEARY) CLAIRE?

5 SUN RUNS FORWARD TO GREET HER AND GIVES HER A HUG AS WELL. KATE WALKS UP FROM BEHIND AND PUTS HER ARM AROUND THE BOTH OF THEM. AS THE THREE WOMEN HOLD A COLLECTIVE EMBRACE, OFF IN THE DISTANCE, IN THE BACKGROUND, THE PLANE FIRES UP. ACT THREE: WE PICK UP WITH DESMOND HUME STANDING OUTSIDE OF A LARGE BUILDING, HE’S ON A BUSY CITY STREET, LOOKING AROUND AT THE SIGHTS WE CAN TELL HE’S IN NYC. SUDDENLY PEOPLE START POURING OUT OF THE BUILDING HE’S CAMPED OUT IN FRONT OF, HIS EYES BECOME FIXED ON THESE PEOPLE, WE KNOW WHO HE’S LOOKING FOR. AND EVENTUALLY HE SEES HIM IN ALL HIS BEARDED GLORY. HE WALKS UP BEHIND DANIEL, WHO IS WALKING ALONE, WITH A BRIEFCASE. DESMOND: DANIEL FARADADY? WE SEE DANIEL FROM BEHIND AS HE STOPS AND WHISKS AROUND. HE WASN’T SURE WHO CALLED HIS NAME. DESMOND: DANIEL? DO YOU REMEMBER ME? DANIEL GIVES DESMOND A GOOD ONCE OVER. DANIEL: (CONFUSED) SORRY, I’VE HAD A PROBLEM RECALLING THINGS THESE DAYS, CAN YOU REFRESH MY MEMORY? DESMOND: UH, WE MET...5 YEARS AGO. (SHOT OF DANIEL) YOU DON’T REMEMBER? DANIEL: I DON’T MEAN TO BE RUDE BUT WHY WOULD I? DESMOND: BECAUSE I GAVE YOU THE SETTINGS FOR YOUR MACHINE...THE RAT?...I’M DESMOND HUME. DANIEL JUST STARES AT HIM, WE CUT TO A COFFEE SHOP WHERE THE MEN SIT. DANIEL IS JUST STARING AT HIM, QUIZZICALLY. DESMOND: HE JUST SAID THAT I COULD CHANGE THINGS. HE KNEW WHAT HAPPENED TO ME. IT WAS JUST LIKE WITH YOUR MOTHER... DANIEL: YEAH, YOU’VE MENTIONED HER A FEW TIMES NOW. I’M STILL CONFUSED ABOUT THIS. (PAUSE) YOU WENT TO 1996 BEFORE YOU MET ME? (DESMOND NODS) AND THEN YOU WENT BACK TO 1996 AND THAT’S WHEN WE MET? (NODS AGAIN) AND NOW YOU’RE BACK IN 2001? DESMOND: THAT’S THE SHORT OF IT, YEAH. ACTUALLY I’VE BEEN HERE FOR THREE YEARS. I ENDED UP IN 1998 THIS LAST TIME. DANIEL: (SMALL LAUGH) HEH (SHAKING HEAD) I BARELY REMEMBER MEETING YOU, DESMOND. BARELY. DANIEL LOOKS DOWN. WE SEE A SHOT OF DANIEL’S JOURNAL, LAID OPEN ON THE TABLE, WE CAN READ THE PAGE IT’S OPENED TO ‘IF ANYTHING GOES WRONG, DESMOND HUME WILL BE MY CONSTANT’. DANIEL: (PUZZLED) I COULDN’T TELL YOU HOW THIS GOT IN MY JOURNAL. (PAUSE) I’M DEALING WITH MEMORY ISSUES, DESMOND...IT’S NOT THAT I DON’T BELIEVE YOU.

6 DESMOND: I JUST NEED YOUR HELP. (PAUSE) TELL ME WHAT WOULD HAPPEN, IF I CHANGED THE PAST FOR GOOD? DANIEL: IT’S NOT POSSIBLE, DESMOND. (PAUSE, CONFUSED) IF YOU ARE HERE NOW... AND THIS IS THE THIRD TIME IT’S HAPPENED TO YOU...YOU SAY THINGS WERE THE SAME AS BEFORE? DESMOND: BASICALLY...IT’S ALL BEEN THE SAME BESIDES SMALL DETAILS. IN FACT (WORRY) IT SEEMS THAT EVEN IF I TRY TO CHANGE THINGS, SOMETHING JUST TRIES TO PUT IT BACK THE WAY IT WAS. LIKE FATE STILL HAS IT’S HAND IN EVERYTHING... DANIEL: THIS COULDN’T BE WRITTEN IN MY BOOK UNLESS YOU ACTUALLY CHANGED SOMETHING, DESMOND. (PAUSE) YET YOU TELL ME THAT THINGS ARE ESSENTIALLY THE SAME? I DON’T GET IT... DESMOND: (EMOTIONAL) YOUR MOTHER TOLD ME...THAT IT WAS WRITTEN IN THAT JOURNAL, THAT YOU WROTE IN THAT JOURNAL, THAT WE MET IN OCTOBER OF THE YEAR 2001. DANIEL: IT’S JULY. DESMOND: I KNOW...SO AM I CHANGING THINGS RIGHT NOW? DANIEL: (SHAKING HEAD) YOU’D THINK SO, BUT...I DON’T KNOW. WE LEAVE THEM TO JOIN BACK WITH SAWYER, WHO IS IN THE NUMBERED COLUMNS ROOM. EXAMINING THE PLACE, WITH HIS RIFLE OUT. HE HEARS SOME NOISE OFF IN THE BACK OF THIS ROOM. HE HEADS OVER TO THE NOISE, WE SEE HIM WALKING TOWARDS THE ENTRANCE TO THE LONG DARK HALLWAY, WHERE WE LAST SAW RICHARD AND GABRIEL, BEFORE THE STRANGE DOOR. A VOICE CALLS OUT TO SAWYER AND HE BECOMES FRIGHTENED, HE CAN’T SEE WHO IT IS. MALE VOICE: WELL, JAMES, IT SEEMS YOU’VE BEEN RESOURCEFUL ENOUGH TO PROCURE YOURSELF SOME FREEDOM. SAWYER: (DETERMINED) YOU BETTER COME OUT OR I’M GOING TO START SHOOTIN’. MALE VOICE: YOU WOULDN’T WANT TO SHOOT IN THE DARK, WOULD YOU? WHO KNOWS WHAT YOU’D HIT. MAYBE EVEN YOUR GIRL. SAWYER: YOU SONUVABITCH, I KNOW IT’S YOU. SAMAEL’S VOICE: WHY DON’T YOU DROP THAT WEAPON BEFORE YOU DO SOMETHING YOU REGRET? WE HEAR GUNFIRE OFF IN THE BACKGROUND, WE CUT TO IT, CHARLES AND MORGAN HAVE ENTERED THE MAIN HALL. TEMPLE GOONS ARE FIRING FROM THE OUTSIDE. CHARLES SHOUTS OUT TO MORGAN. CHARLES: (FORCEFUL) COVER ME, I’VE GOT TO MOVE IN. CHARLES MAKES A BREAK FOR THE ENTRANCE TO THE NUMBERED COLUMNS ROOM, MORGAN HOLDING OFF FIRE, THEN WE SEE TWO TEMPLE GOONS EMERGE FROM AN ENTRANCE AT THE OTHER SIDE OF THE ROOM, THEY SHOOT MORGAN THREE TIMES, HE FALLS TO THE FLOOR DEAD. BACK WITH SAMAEL, ALTHOUGH WE STILL CAN’T SEE HIM (CONT.)

7 HE’S DOWN THIS DARK HALLWAY, WE THINK? IT’S JUST HIS VOICE. SAMAEL’S VOICE: I THINK YOU MAY BE IN SOME TROUBLE, JAMES. WOULDN’T WANT TO KILL YOUR LOVER, JUST SEEKING VENGEANCE. SAWYER LOOKS WORRIED AND ANGRY. HE’S GUESSING, HOPING. SAWYER: (SCOFFS) YOU DON’T HAVE HER.(MENACING) I’M KILLING YOU, YOU BASTARD. IF IT’S THE LAST THING I EVER DO. FOOTSTEPS BEHIND SAWYER, SAWYER LOOKS BACK, CHARLES WIDMORE ROUNDS THE CORNER, WITH A RIFLE IN HIS HAND, AIMED. SAWYER TURNS TO HIM WITH THE GUN, AIMED. CHARLES CRIES OUT. CHARLES: YOU! YOU AREN’T PART OF THIS! OUT OF THE WAY. SAMAEL’S VOICE: JAMES, MEET CHARLES WIDMORE. THE REASON BENJAMIN LINUS MOVED THE ISLAND. THE REASON CLAIRE WAS SEPARATED FROM HER BABY. THE REASON YOU AND JULIET ENDED UP IN THE DHARMA INITIATIVE. SAWYER JUST GAZES AT CHARLES, HIS RIFLE FIXED ON HIM. CHARLES: (PANIC) THERE ARE MEN CHASING ME AS WE SPEAK. WE DON’T HAVE TIME FOR THIS. CHARLES LOOKS BEHIND HIM AS WE HEAR MORE FOOTSTEPS. SAWYER IS LOOKING OVER AT CHARLES’ DIRECTION. SAMAEL’S VOICE: (CALM) DO IT, JAMES. VENGEANCE IS YOURS. CHARLES STARTS FIRING BEHIND HIM. NOW PLEADING. CHARLES: I’VE COME HERE TO STOP THEM. HELP ME! SAMAEL’S VOICE: (CALM) HE BROUGHT THAT FREIGHTER HERE TO KILL YOUR PEOPLE, JAMES. HE DESERVES THIS. SAWYER IS EMOTIONAL, RAGED. HE FIRES ONCE STRIKING CHARLES IN THE NECK. CHARLES DROPS TO THE FLOOR, INSTANTLY DEAD. SAWYER SWINGS AROUND AND POINTS HIS GUN INTO THE DARK ABYSS. HE FIRES DOWN THIS HALLWAY, THEN FIRES AGAIN- CLICK. OUT OF BULLETS. WE SEE SAWYER’S FACE FROM THE FRONT, PEERING DOWN AT HIS GUN. SAMAEL QUICKLY EMERGES FROM THE DARK TRYING TO PLUNGE HIS KNIFE INTO SAWYER. THEY FIGHT. WE QUICKLY CUT TO OUT ON THE ISLAND, WILCOX STRUGGLES TO CARRY PENNY ON HIS BACK. HE STOPS TO GET REST FOR A MOMENT. HE’S WALKED RIGHT INTO DARK TERRITORY, TAKING A SHORT CUT TO GET BACK TO THE TEMPEST. HE LAYS PENNY DOWN AND WALKS OVER TO FIND A STREAM FOR SOME WATER. HE BENDS OVER AT A STREAM AND WE HEAR WHISPERS, THEN WE SEE THE MONSTER. IT QUICKLY PICKS HIM UP AND BASHES HIM AGAINST A TREE. WE CUT TO STEWART WHO’S WALKING TO MEET UP WITH HIM, HE HEARS A SCREAM AND STARTS RUNNING TOWARDS THE NOISE. THE NEXT CUT SHOWS HIM JOGGING UP TO PENNY, SHE’S UNCONSCIOUS ON THE GROUND. HE SEES WILCOX LAYING OVER IN THE DISTANCE. HE RUNS TO HIM AND IS QUICKLY PICKED UP BY THE SMOKE MONSTER AS WELL, FLUNG AGAINST A TREE. DEAD INSTANTLY. WE END THE SCENE WITH A SHOT OF PENNY, ALONE.

8 ACT FOUR: WE BEGIN IN DANIEL’S HOTEL ROOM, DANIEL AND DESMOND ARE HAVING A DEEP DISCUSSION. DESMOND SITS IN A CHAIR, AS DANIEL PACES THE FLOOR, STROKING HIS BEARD. DANIEL: I JUST DON’T UNDERSTAND...THIS PERSON...WHO SAID YOU HAD A CHOICE? YOU DIDN’T KNOW WHO HE WAS BUT HE KNEW THAT YOU WERE UNSTUCK IN TIME? HOW IS THAT POSSIBLE? DESMOND: (BOTHERED) I DUNNO. HE SAID I COULD CHOOSE...YET I DON’T EVEN KNOW WHAT THAT MEANS. I CHOSE NOT TO GO ON THE BOAT RACE, THE RACE THAT BROUGHT ME TO THAT ISLAND. DANIEL: WHEN DID YOU CRASH THERE? DO YOU REMEMBER? DESMOND: AYE, IT WAS LATE NOVEMBER OR EARLY DECEMEBER. 2001. DANIEL: SO, THIS ISLAND, THIS IS THE ISLAND THAT GERALD AND I WORKED TO FIND. HE HAD BEEN THERE BEFORE, I NEVER HAVE... DESMOND: (INTERUPTING) NOT YET ANYWAYS. DANIEL: (SMALL LAUGH) RIGHT. (PAUSE) DESMOND...THERE IS ONLY ONE EXPLANATION I CAN THINK OF. AND I DON’T EVEN BELIEVE THIS MYSELF...BUT THE ONLY DETERMINATION I CAN COME TO...IS THAT THIS REALITY, THIS RIGHT HERE AND NOW, YOU AND ME...IS NOT THE SAME AS ALL THE REST OF IT. DEMSOND: BUT YET, YOU HAVE THE BOOK...WITH MY NAME IN IT. DANIEL: (PUZZLED) YEAH, I ON SOMETHING THAT I CAN’T EXPLAIN. I DON’T LIKE THE ONLY SOLUTION I CAN THINK

KNOW. (PAUSE) MAYBE IT ALL HINGES EXPLAIN...THAT SCIENCE CAN’T IDEA OF THAT VERY MUCH BUT IT’S THE OF.

DESMOND: SO WHAT SHOULD I DO? (PLAYFUL) I’VE READ AS MUCH SCIENCE FICTION AS I COULD STOMACH, JUST TO TRY AND WRAP MY HEAD AROUND ALL THIS. DANIEL: MAYBE YOU SHOULD TALK TO THIS PERSON, AGAIN. (PAUSE) THE ONE WHO KNEW YOU WERE KNOCKED OUT OF YOUR OWN TIME. DESMOND: HE SAID I’D SEE HIM AGAIN WHEN I MADE MY DECISION. DANIEL: WELL HAVE YOU? IF YOU DIDN’T CRASH ON THAT ISLAND UNTIL LATE NOVEMBER, THEN YOU’VE GOT FOUR FULL MONTHS TO STILL END UP THERE. MAYBE IT HAS TO MOVE BEYOND THAT POINT? DESMOND: BUT I STILL WOULD HAVE ALREADY CHANGED THE PAST! DANIEL: (SMILES) WELL...THAT’S RELATIVE. FOR YOU DESMOND, THIS IS A PAST EVENT. FOR ME IT’S NOT. (PAUSE) SO PERHAPS THE WHOLE THING BOILS DOWN TO THAT. IN THIS REALITY, MY FUTURE ISN’T WRITTEN AND PERHAPS...YOU ONLY THINK YOURS IS? WE LEAVE THE SCENE ON A PERPLEXED DESMOND. WE ARE NOW BACK IN THE UNDERGROUND TUNNELS. FOLLOWING SOME PEOPLE WALKING, WE CAN’T MAKE OUT WHO IT IS YET. WE CUT TO INSIDE (CONT.)

9 OF THE MAIN HALL, WHERE JACK WAS STABBED, AND THEN WE SEE JACKOB WALKING IN, WITH HIS THREE SOLDIERS, JACKOB IS UNARMED BUT HIS SOLDIERS CERTAINLY ARE. TWO OF THEM LEAD THE WAY. THEY ARE HEADED TO THE NUMBERED COLUMNS ROOM, GUNFIRE BREAKS OUT. SOME OF THE TEMPLE GOONS WHO FOLLOWED CHARLES WIDMORE ARE HAVING IT OUT WITH JACKOB’S SOLDIERS. JACKOB JUST STANDS AS THE GUNS BLAZE. WHEN THE DUST SETTLES, WE SEE JACKOB WALK INTO THE NUMBERED COLUMNS ROOM, THREE DEAD GOONS LAY THERE. THEY PROCEED TO KEEP WALKING, THEY ENTER THE PORTION OF THE ROOM WHERE A DEAD CHARLES WIDMORE NOW LIES. TWO OF JACKOB’S SOLDIERS WALK AHEAD AND HOLD THEIR AIM, A SOLDIER WATCHES HIS BACK AS JACKOB STEPS AHEAD. WE NOW SEE SAWYER LAYING ON THE FLOOR, SAMAEL IS HOLDING HIM DOWN. SAMAEL CATCHES NOTICE OF JACKOB, SAWYER SEES WHO HE THINKS IS JACK. THEY IMMEDIATELY CEASE THEIR FIGHT. SAMAEL TURNS AROUND TO FACE HIM. JACKOB AND SAMAEL ARE LOCKED IN SIGHT OF EACH OTHER. SAMAEL: (RATHER CALM) YOU’VE CAUSED A LOT OF BLOODSHED, JACOB. I DIDN’T INTEND FOR ANY OF THIS TO HAPPEN BUT IT HAD TO HAPPEN THIS WAY. YOU SHOULD HAVE JUST CONCEDED. JACKOB: YOU’VE ALREADY BEEN DOWN THERE HAVEN’T YOU? SAMAEL: YES. WE HAD 108 MINUTES LEFT ABOUT 15 MINUTES AGO. JACKOB: SO DID YOU THINK I WAS GOING TO ALLOW THIS TO HAPPEN? SAMAEL: (SMILING) THE DOOR WON’T EVEN OPEN FOR YOU, JACOB. JACKOB SMILES AND THEN HE LOOKS OVER TO SAWYER. JACKOB: I NEED THAT STONE IN YOUR POCKET, JAMES. SAWYER IS JUST GLARING AT HIM, PERPLEXED. JACK NEVER CALLED HIM “JAMES”. SAWYER: SO... WHAT? YOU WALKIN’ DEAD TOO? ONE OF JACKOB’S SOLDIERS, THEN GOES OVER TO SAWYER EXTENDING HIS HAND. SAWYER REACHES INTO HIS POCKET AND HANDS IT OVER. JACKOB: (TO SAWYER, RE:SAMAEL) I’LL DEAL WITH HIM. (GLANCES BACK OVER TO CHARLES’ BODY) LOOKS LIKE YOU GOT YOUR VENGEANCE, JAMES, SO YOU NEED TO JUST GO AND FIND KATE. JACKOB MOTIONS FOR ONE HIS SOLDIERS TO ESCORT SAWYER. SAWYER LOCKING EYES WITH SAMAEL, HAS ONE LAST THING TO SAY TO HIM. SAWYER: (SERIOUS) I GUESS YOU’RE LUCKY THIS TIME. BETTER HOPE I NEVER SEE YOU AGAIN. SAMAEL: RUN OFF TO YOUR LITTLE CRIMINAL, JAMES. MAYBE NOW YOU TWO CAN FINALLY BE TOGETHER, THICK AS THIEVES. (PAUSE) SEEING HOW ALL OF YOUR OBSTACLES ARE OUT NOW OF THE WAY. SAWYER TAKES A FEW STEPS TOWARDS SAMAEL, UNARMED, JACKOB STEPS IN FRONT OF HIM. SAWYER RELENTS.

10 JACKOB: (GESTURES) THIS MAN WILL ESCORT YOU OUT, JAMES. (TOWARDS THE OTHER TWO) YOU TWO (PAUSE) GO AND MAKE SURE THE CHILDREN ARE LIBERATED. SAMAEL: (SMART-ASS) WHAT IS IT JACOB? ARE YOU JUST HERE TO WITNESS THE FUTILITY OF YOUR “COUNTER MOVE”? JACKOB: (SMILES) I’M HERE TO WITNESS SOMETHING, ALRIGHT. JACKOB AND SAMAEL WALK DOWN THE DARK HALLWAY TO THE STRANGE DOOR. WE SWITCH SCENES. WE’RE BACK AT THE RUNWAY, A BIG GROUP OF 316 SURVIVORS WATCH AS FRANK IS CAREFULLY BACKING UP THE PLANE AS FAR AS HE CAN MOVE IT. SUN, CLAIRE, KATE AND HURLEY SIT TOGETHER, THERE ARE GROUPS OF 316 SURVIVORS IN THE AREA. THEY ALL WATCH FROM A DISTANCE. OUR GROUP IS SADDENED, TO SAY THE LEAST. CONVERSING OVER WHAT IS ABOUT TO GO DOWN. SUN: I SUPPOSE WE’RE ALMOST THERE. HURLEY: (COMFORTING) I’M SORRY JIN HASN’T SHOWN UP, SUN. SUN: WE’RE ALL LEAVING SOMETHING BEHIND, AREN’T WE? KATE: I CAN’T BRING MYSELF TO EVEN THINK ABOUT THE OTHERS. CLAIRE: I’M JUST THINKING...JACK DIED SO WE COULD LEAVE, KATE. THERE HAS TO BE A REASON TO IT. HURLEY: YEAH, BUT WHAT ABOUT SAWYER? WE DON’T EVEN KNOW IF HE IS DEAD. AND JIN... KATE:(SOMBER) PART OF SAWYER DIED WITH JULIET. MAYBE HE’S DOWN THERE MAKING IT UP TO HER...I DON’T KNOW. SUN: SO, WE’RE ALL THAT’S LEFT? (CRYING) OF FLIGHT 815? KATE GIVES SUN A WARM EMBRACE. THEN, THE EARTH BENEATH THEM JUST BEGINS SHAKING. CLAIRE: (CURIOUS) WHAT’S THAT? THE ENGINES? HURLEY: (WORRIED, DEADPAN) DUDE, THAT IS SO NOT THE ENGINES. WE PAN BACK AND CUT TO THE ISLAND, PENNY IS AWAKENING AS THE EARTH IS MOVING, WE SEE A WOUNDED ROSE AND BERNARD, ON THEIR WAY TO THE CAVES, REACTING TO THE TREMBLING GROUND. LASTLY, WE SEE SAMAEL AND JACKOB STANDING AT THE STRANGE DOORWAY, THE EARTH BENEATH THEM SHAKING. SAMAEL: (SMILES) IT’S BEGINNING. JACKOB: (GRINS) YOU’VE HAD YOUR LOOPHOLE, SAMAEL. VERY CLEVER (PAUSE) BUT YOU KNOW YOU CHEATED, THERE MUST BE BALANCE. SAMAEL: UNFORTUNATELY FOR YOU JACOB, I WAS ONTO YOU EARLY. I TIPPED THE SCALES JUST ENOUGH...YOU CAN’T STOP IT NOW. JACKOB: (GRIN) YEAH, WE’LL SEE ABOUT THAT, WON’T WE?

11 SAMAEL APPEARS ANGRY, THE DOOR THEN BEGINS TO OPEN, WE SEE HIM EVEN MORE PERTURBED. WE SWITCH TO ONE LAST SHOT, WE SEE VINCENT IN THE MIDDLE OF A FIELD. HE’S BARKING. PENNY IS STIRRING AROUND, CONFUSED, SHE SEES THE DOG FROM A DISTANCE. VINCENT BARKING AGAIN, THEN HE JUST TAKES OFF, PENNY GETS UP AND FOLLOWS THE DOG. SCENE END. ACT FIVE: A SUBTITLE ON THE SCREEN READS ‘LONDON, ENGLAND’. IT’S NIGHTTIME. DESMOND STANDS OUTSIDE OF A FAMILIAR HOUSE, ONE IN WHICH WE SAW IN ‘THE CONSTANT’. ALSO SIMILAR, THE LAST TIME WE SAW THIS HOUSE WE SAW CHRISTMAS ADORNMENTS THROUGH THE WINDOWS. SAME THIS TIME. DESMOND HAS BEEN KNOCKING. PENNY’S VOICE: (INSISTENT) I SAID, I’M COMING! WE STAY ON DESMOND AS PENNY OPENS THE DOOR, A BIT SURPRISED, BUT ALSO A BIT EXPECTED TO SEE HIM. PENNY: I GUESS YOU DECIDED AGAINST GOING? DESMOND: (APOLOGETIC) PENNY, THERE WAS NOTHING TO PROVE TO MYSELF. (PAUSE) I WOULD ONLY BE PROVING SOMETHING TO YOUR FATHER. NOTHING I COULD HAVE DONE WOULD EARN HIS FAVOR. PENNY: I KNOW IT’S COLD OUTSIDE BUT HE’S HERE, SO IT MIGHT BE A LITTLE INAPPROPRIATE TO INVITE YOU IN. DESMOND: SO YOU GOT MARRIED OR WHAT? PENNY: NOT YET, WE’RE GETTING MARRIED ON VALENTINE’S DAY. DESMOND: (DISAPPOINTED) WONDERFUL. PENNY: SO WHY ARE YOU HERE? (PAUSE) BESIDES WANTING ME BACK? DESMOND: (EMOTIONAL) THAT’S JUST IT, PENNY. I DO WANT YOU BACK AND...I KNOW WE’RE SUPPOSED TO BE TOGETHER...BUT I DON’T THINK IT’S SUPPOSED TO HAPPEN ANYMORE...I THINK I MADE A MISTAKE. THESE CHOICES...THEY ARE TERRIBLY DIFFICULT. PENNY: IT’S NOT DIFFICULT DESMOND, YOU EITHER DO OR YOU DON’T, IN LIFE. (SIGHS, PAUSE) IF WE’RE SUPPOSED TO BE TOGETHER, THEN WHY HAS IT TAKEN YOU FIVE MONTHS TO COME AND SEE ME? DEMSOND: I’M NOT MADE OF MONEY, PEN. (PAUSE) AFTER I SAW YOU IN LOS ANGELES, IT TOOK EVERYTHING I HAD TO TRY AND GET THINGS SORTED OUT...AND THEN GET BACK HERE. PENNY: (SHAKING HEAD) I DON’T KNOW WHAT YOU WANT ME TO SAY... DESMOND: JUST SAY...THAT YOU’LL KEEP ME IN YOUR MIND (PAUSE) IN YOUR HEART, IN YOUR SOUL. (PAUSE) AND MAYBE ONE DAY, THINGS WILL WORK OUT LIKE THEY ARE SUPPOSED TO. PENNY: I WOULDN’T EVER FORGET YOU, DESMOND. YOU KNOW THAT IN SOME WAYS, I’LL ALWAYS LOVE YOU, IT’S JUST...I’VE MOVED ON.

12 A MALE VOICE FROM WITHIN THE ROOM IS HEAD. UNKNOWN MALE VOICE: WHAT’S GOING ON PENELOPE? THE COLD AIR IS COMING IN. DESMOND: (SAD, TO PEN) JUST DON’T FORGET ABOUT ME, OKAY? (TEARY) JUST DON’T EVER FORGET ABOUT ME. DESMOND WALKS AWAY FROM THE DOOR, AND WE NEXT SEE PENELOPE ON THE ISLAND FOLLOWING VINCENT. THE DOG HAS LED HER TO THE IMPLODED SWAN SITE. HE BARKS A FEW TIMES, THEN RUNS OFF. PENELOPE: (EXHALES) OH BROTHER, YOU WANT ME TO KEEP MOVING? A VOICE IS HEARD FROM OFFSCREEN, IT’S AN UNMISTAKABLE SCOTTISH ACCENT. THE CAMERA PANS TO SEE DESMOND SPEAKING. DESMOND: THIS IS WHERE IT ALL BEGAN, PEN. PENELOPE: (SURPRISE, JOY) DESMOND! DID YOU FIND THE BOAT? SHE RUNS TO HIM, AND THROWS HER ARMS AROUND HIM, KISSING HIM. PENELOPE: WHERE IS THE BOAT? CAN WE LEAVE? DESMOND: (SMILING) I CAN’T LEAVE PENNY. (PAUSE) AND YOU ARE GOING TO HAVE TO STAY HERE WITH ME. PENELOPE: (INCREDULOUS) WHAT DO YOU MEAN? WHAT ABOUT CHARLIE? DESMOND: HE’S FINE. WE SAVED HIM. PENELOPE: (GETTING ANGRY) DESMOND, YOU’RE NOT MAKING ANY SENSE. WE NEED TO GET THE HELL OUT OF HERE! DESMOND: THERE IS NO TIME. THIS WHOLE PLACE IS GOING AWAY. AND WE’RE GOING AWAY WITH IT. PENELOPE: (DEFIANT) HAVE YOU LOST YOUR MIND? DESMOND: (GRINS) IN A MANNER OF SPEAKING...YES. WE CUT BACK TO DESMOND IN LONDON, HE’S SITTING A DINER EATING A MODEST DINNER. THROUGH THE WINDOWS WE SEE DARKNESS. WE CAN SEE FROM HIS EYES, HE’S BEEN CRYING. WE HAVE TO ASSUME THIS WAS MOMENTS AFTER TALKING TO PENNY. HE TAKES A BITE OUT OF HIS TOAST AND LOOKS DOWN. THEN HE HAS A VISITOR SIT WITH HIM. JACOB’S VOICE: LOOKS LIKE YOU’VE MADE A DECISION. DESMOND LOOKS UP TO SEE HIM, AT A LOSS FOR WORDS, HE JUST SIGHS AND TAKES A DRINK OF SOME COFFEE. JACOB: I SUPPOSE YOU’RE WONDERING IF IT’S TOO LATE TO CHANGE YOUR MIND? DESMOND: (SCOFFS) IF I TOLD YOU WHAT I WAS “WONDERING” YOU’D PROBABLY WANT TO KILL ME YOURSELF. JACOB: (CALM) YOU CAN TELL ME, DESMOND. THIS IS THE LAST TIME WE’LL EVER SPEAK, SO IF YOU NEED TO ASK ANYTHING YOU BETTER GET TO IT.

13 DESMOND: (PUT-OFF) YEAH RIGHT...I’M SUPPOSED TO BE ABLE TO WRAP MY HEAD AROUND ALL THIS LONG ENOUGH TO ASK YOU QUESTIONS...(PERTURBED) TRY THIS, WHAT IF I WANTED TO GO BACK TO THE ISLAND, HUH? WHAT WOULD HAPPEN? JACOB: AS LONG AS YOU ARE THERE TO CAUSE THAT PLANE TO CRASH, THEN THINGS COULD IRON THEMSELVES OUT, MAYBE. DESMOND: SO THAT’S IT? THAT’S WHAT THIS IS ALL ABOUT? BLOODY FLIGHT EIGHT-FIFTEEN? JACOB: YOU SAY THAT AS IF THEY’VE DONE SOMETHING WRONG, DESMOND. LAST TIME I CHECKED, IT WAS YOU WHO CRASHED THEIR PLANE. DESMOND: (SIGHS) YEAH, WELL IT SEEMS I’VE SACRIFICED THE ONLY LOVE OF MY LIFE...MY FAMILY...(MIFFED) SO THAT IT DOESN’T HAPPEN, YEAH? (PAUSE) SO WHY DON’T YOU SPARE ME THE GUILT? JACOB: I’M NOT TRYING TO MAKE YOU FEEL GUILTY, DESMOND. I JUST WANT YOU TO KNOW THE WEIGHT OF THIS DECISION. I TOLD YOU IT WOULDN’T BE EASY. DESMOND: (PISSED) I’LL TELL YOU WHAT I WAS...”WONDERING”. I WAS WONDERING WHAT WOULD HAPPEN IF I JUST JUMPED OFF A BLOODY BUILDING...ENDED IT ALL, WHAT WOULD HAPPEN THEN? JACOB: WHAT DO YOU THINK WOULD HAPPEN? DESMOND: I WOULD BE OUT OF THIS MISERY AND INTO ANOTHER ONE. JACOB: THAT’S ONE WAY OF PUTTING IT. ANOTHER WAY OF PUTTING IT, WOULD BE THAT YOU WOULD LIMIT OUR CHOICES. DESMOND: (CURIOUS) “OUR” CHOICES? SO NOW WE ALL HAVE CHOICES? JACOB: BY YOU LIVING THIS LIFE, YOU GIVE ALL OF THOSE PEOPLE A SECOND CHANCE AT THEIR OWN LIVES. YOU GIVE THEM CHOICES. DESMOND: SO, I JUST HAVE TO MAKE IT TO THE DAY OF THE CRASH, WITHOUT GOING TO THE ISLAND OR WHAT? JACOB: DESMOND, THERE’S ONE LAST VERY IMPORTANT THING I NEED TO TELL YOU. (PAUSE) THIS WHOLE THING, ALL OF IT, EVERY EXISTENCE YOU’VE HAD, EVERY EXISTENCE THERE IS, IT ALL IS SUPPOSED TO END AT 4:23PM UNIVERSAL TIME ON AUGUST 4TH 2015. DESMOND: (INCREDULOUS, ANGERED) SO WHAT THE BLOODY HELL IS THAT SUPPOSED TO MEAN? (PAUSE) THEN WHAT IS THE PURPOSE OF ANY OF THIS? YOU’RE TELLING ME THAT WE ALL ARE GOING TO DIE IN FOURTEEN YEARS? THEN WHY DO I NEED TO SAVE ANYONE? JACOB: WE ALL DIE EVENTUALLY, DESMOND, DOES THAT MEAN WE SHOULDN’T EVER SAVE ANYONE? (PAUSE) BESIDES, I’VE TAKEN SOME STEPS TO ENSURE THAT, PERHAPS, WE CAN SKIP OVER THIS...CATACLYSM. (PAUSE) AND IF WE DO...IF WE CAN STAVE OFF THIS DOOMSDAY EVENT. THEN THE REALITY LEFT BEHIND MIGHT VERY WELL BE ENTIRELY UP TO YOU.

14 DESMOND: (INCREDULOUS) SO I AM CHOOSING THE FATE OF THE WHOLE WORLD? THAT’S BLOODY RIDICULOUS. JACOB: MORE RIDICULOUS THAN SPENDING THREE YEARS PUNCHING THAT ENDTIME DATE INTO A COMPUTER...EVERY 108 MINUTES? DESMOND: (SCOFFS) I SUPPOSE I’VE ALREADY LOUSED UP MY LIFE. THE LIFE I THOUGHT I HAD. (PAUSE, SOMBER) YOU CAN RELAX, I’M NOT GOING BACK TO THAT DAMN ISLAND. JACOB: WELL, AGAIN, IT’S YOUR CHOICE. THAT’S ALL I AM ALLOWED TO TELL YOU ABOUT THE NATURE OF YOUR CHOICE. I SUPPOSE WHATEVER YOU DECIDE FROM HERE ON OUT, IS BEYOND THE REST OF OUR CONTROL. DESMOND: (SHAKING HEAD) “OUR CONTROL”? JUST WHO THE BLOODY HELL ARE YOU? JACOB: LET’S JUST SAY THAT I ANSWER TO THE HIGHEST. (PAUSE) YOU WERE GIVEN A CALLING. SEE YOU IN THE NEXT LIFE, BROTHER. JACOB GETS UP TO LEAVE. DESMOND IS SHOWN, DUMBFOUNDED. ACT SIX: BACK AT THE STRANGE DOOR, WITH THE PURPLE-BLUE LIGHT SPILLING OUT, THE GROUND IS STILL SHAKING, SAMAEL ENTERS, THEN JACKOB WALKS BEHIND HIM. WE SUDDENLY CUT BACK TO FURTHER UP IN THE HALL, SAWYER AND THE DHARMA SOLDIER HAVE RETURNED TO NEAR THE ENTRANCE OF THIS LONG DARK HALLWAY LEADING BACK UP TO THE STRANGE DOOR. THE SOLIDER TURNS TO SAWYER. UNKNOWN SOLDIER-1: THIS WAS THE PLAN, JAMES. WE HAD TO FOOL HIM. JACOB NEEDS YOU TO HELP HIM. (PAUSE) YOU WON’T BE ABLE TO LEAVE WITH YOUR FRIENDS. SAWYER: (MELANCHOLY) MY FRIENDS ARE EITHER DEAD OR HAVE BEEN ON THEIR OWN FOR AWHILE (PAUSE) SO... WHY DON’T YOU JUST GO? YOU GOT A GUN. UNKNOWN SOLDIER-1: HE TOLD US THAT IT NEEDED TO BE YOU. SAWYER: (GRAVE) YEAH? I’D PROBABLY GET SHOT ON THE WAY OUT ANYWAYS. IF I GET A CRACK AT THAT SUMBITCH, COUNT ME IN. . UNKNOWN SOLDIER-1: YOU’RE GOING TO NEED TO HURRY, HE’LL BE DISTRACTING SAMAEL JUST LONG ENOUGH FOR YOU TO GET IN. SAWYER GIVES THE SOLDIER A GLANCE, WE HEAR THE SOUND OF THE DOOR BEGINNING TO CLOSE IN THE BACKGROUD. SAWYER TAKES OFF RUNNING. WE CUT TO SEE A SHOT OF JACKOB AND SAMAEL, THEY DESCEND DOWN THE STAIRWAY LEADING INTO THE ABYSS OF LIGHT. AS WE SEE THEM DROP OUT OF SIGHT, SAWYER DUCKS INTO THE DOOR, HE STOPS AND HOLDS BACK. THE SOUND OF THE DOOR CLOSING. SAWYER PEERS INTO THE LIGHT, LIKE A STARGAZING CHILD. HIS ATTENTION DRAWN TO THE STAIRWAY, WE LEAVE THEM HERE. (CONT.)

15 WE CUT TO THE ABOVE DHARMA TEMPLE LEVEL, JACKOB’S TWO SOLDIERS HAVE ENTERED A ‘DEN’ AREA, SHOOTING A FEW GOONS GUARDING THE DOOR WHILE THEY’RE AT IT. THEY ENTER AND WE SEE CINDY, ZACH AND EMMA. ONE OF THEM SPEAKS. UNKNOWN SOLIDER-2: YOU, ARE YOU THE GUARDIAN OF THESE CHILDREN? CINDY: (APPREHENSIVE) YES...WHAT IS GOING ON? IS THIS AN EARTHQUAKE? WHAT’S HAPPENING? UNKNOWN SOLDIER-2: YOU’RE COMING WITH US. CINDY AND THE KIDS MOVE FORWARD, THEY LEAVE THE ROOM WITH THE TWO ‘SOLDIERS’, WE CUT TO THE PLANE, IT HAS BEEN BACKED UP ALL THE WAY TO THE EDGE OF WHERE FRANK FIRST LANDED IT. THE GROUND IS MOVING A LITTLE LESS VIOLENTLY HERE ON HYDRA ISLAND, BUT IT’S SHAKING ALL THE SAME. FRANK STANDS OUTSIDE, RUNNING AND SHOUTING TO ALL THE PASSENGERS. FRANK: (LOUD) EVERYONE, BE AS CIVIL AND ORDERLY AS POSSIBLE! HELP EACH OTHER OUT, WE GOTTA GET THIS THING LOADED. WE’RE LEAVING IN ABOUT A HALF-HOUR! SUN AND KATE RUN UP TO HIM AND CATCH HIS EAR. SUN: WE’RE GOING TO GO AND CHECK WITH RON, SEE IF ANYONE ELSE IS COMING (PAUSE) PLEASE DON’T LEAVE WITHOUT US! FRANK: NOT A CHANCE, I WOULDN’T LEAVE WITHOUT YOU GUYS. (PAUSE) JUST DON’T GET A MIND TO GO ON A RESCUE MISSION, SOMETHING TELLS ME THAT THIS EARTHQUAKE IS GONNA GET WORSE BEFORE IT GETS BETTER. (PAUSE, INSISTENT) SO HURRY BACK. KATE AND SUN RUN OFF TO GO AND CHECK WITH THE ‘FERRYMAN’ FRANK STOPS AND LOOKS AROUND, HE SEES VARIOUS PEOPLE ALREADY CLIMBING IN TO THE PLANE. IT’S ALMOST ‘GO-TIME’. WE LEAVE THEM HERE AND PICK UP WITH DESMOND HUME AGAIN. AS WE CATCH A BEARING OF HIS SURROUNDINGS, WE NOTICE HE’S IN A HOSPITAL. HE JUST STANDS AND PANS THE AREA, FINALLY WE SEE THE MAN HE’S COME TO SEE. JACK SHEPHARD STANDS AT THE END OF THE HALL, WITH A CLIPBOARD IN HIS HAND, TALKING TO A NURSE. JACK FINISHES HIS TALK AND WALKS OFF, TOWARDS DESMOND. DESMOND GINGERLY APPROACHES HIM. DESMOND: DR. SHEPHARD? JACK: (LOOKING UP) YES, MAY I HELP YOU? DESMOND: (SHY) UH, HELLO. MY NAME IS...DOCTOR DESMOND HUME. I’M A SURGEON...UH, I’M FROM AUSTRALIA... JACK: (INTERESTED) YEAH? DESMOND: I WAS WONDERING IF YOU’D EVER BEEN TO SYDNEY...OR IF YOU WERE PLANNING ON GOING ANYTIME SOON?

16 JACK: AUSTRALIA HUH? YOU SOUNDED MORE SCOTTISH TO ME. JACK SMILES, WE SEE DESMOND LOOKING UNCOMFORTABLE. JACK: (SHAKES HEAD) UH, NO. NEVER BEEN TO AUSTRALIA AND AS FAR AS I CAN REMEMBER, I DON’T THINK I’M GOING ANYTIME SOON, WHAT IS THIS ALL ABOUT? DESMOND: (UNSURE, SCRAMBLING) UH, WE JUST HAD A CONFERENCE. (PAUSE) AND I THOUGHT MAYBE YOU WENT...AND MAYBE YOU WERE PLANNING ON COMING BACK TO VISIT? JACK: NO, I WASN’T AWARE OF ANY CONFERENCE. (PAUSE, SERIOUS) MY FATHER GOES TO SYDNEY FOR THOSE THINGS, MAYBE YOU SHOULD TALK TO HIM. DESMOND: UH, YEAH, WHERE IS HE? JACK: I HAVE NO IDEA (PAUSE) WE HAD AN INCIDENT HERE NOT LONG AGO AND HE HAD TO SWITCH JOBS. DESMOND: (SLIPS ‘CHARACTER’) DAMMIT, JACK, YOU LET HIM GO? JACK: (SHOCK) I’M SORRY, WHAT DID YOU SAY? DESMOND: (WORRIED, CONCERNED) JACK, YOU CAN’T FLY TO SYDNEY, WHATEVER YOU DO, DON’T GO TO SYDNEY IN THE NEXT MONTH! A NURSE HAS APPROACHED JACK TO SPEAK WITH HIM. NURSE: DR. SHEPHARD, YOU NEED TO GO SEE MR. LEWIS IN ROOM 204. WE NEED TO GO OVER HIS CHARTS WITH HIM. JACK: (TO NURSE) YEAH, 204, I’LL BE THERE SHORTLY. DESMOND: (PLEADING, INSISTENT) JUST DON’T GO TO SYDNEY. OKAY? NOT UNTIL AFTER THE 22ND OF SEPTEMBER. JACK: LISTEN, YOU’RE NOT MAKING ANY SENSE TO ME, IN FACT, I’D LIKE TO SEE YOUR CREDENTIALS. YOU SAY YOU ARE A SURGEON? DESMOND: (WORRIED) JUST DON’T GO, JACK! DESMOND WALKS OFF BEFORE JACK CAN RESPOND. WE CUT TO SEE DESMOND WAITING OUTSIDE OF ANOTHER BUILDING ALTOGETHER, IN BROAD DAYLIGHT, HE LEANS UP AGAINST A CAR. SOMETHING CATCHES HIS EYE. HE WALKS TOWARDS IT, SURPRISED. AS THE CAMERA PANS AROUND WE SEE JOHN LOCKE IN A WHEELCHAIR. DESMOND SPEAKS. DESMOND: (SMILING) HEY, MATE! LOCKE: (FLAT) YEAH, WHAT IS IT? DESMOND: UH, THIS IS GOING TO SOUND RIDICLOUS BUT UH...(SERIOUS) LISTEN I DON’T KNOW YOU AND I KNOW YOU DON’T KNOW ME BUT...I HAD A TERRIBLE DREAM, AND YOU WERE IN IT. (PAUSE, A SHOT OF A CONFUSED LOCKE) AND YOU DIED IN A PLANE CRASH...YOU SEE, UM...I’M SORT OF ...(UNSURE) PSYCHIC. LOCKE: (LAUGHS) OH, IS THAT RIGHT? (PAUSE) DID RANDY PUT YOU UP TO THIS?

17 DESMOND: RANDY? WHAT DO YOU MEAN? LOCKE: THEY’VE BEEN TRYING TO GET ME NOT TO GO ON MY WALKABOUT FOR MONTHS, IT AIN’T GONNA WORK, FRIEND. SAVE YOUR BREATH. DESMOND: NO, THIS HAS NOTHING TO DO WITH THAT. (PAUSE) JUST TRUST ME, WILL YA? LOCKE: SORRY, FRIEND. (PAUSE) I’M LEAVING IN THREE DAYS. DESMOND: (GRAVE) YOU’LL DIE, JOHN. (PAUSE, TO SELF) MAYBE THINGS HAVE ALREADY CHANGED... (TO JOHN) WHAT ARE YOU DOING IN A WHEELCHAIR? WHAT HAPPENED TO YOU? LOCKE: (OFFENDED) OKAY, THAT’S IT. YOU’VE HAD YOUR LAUGH, THAT’S ENOUGH OF THIS. DESMOND: (SINCERE) JOHN, PLEASE. JUST DON’T COME BACK ON FLIGHT 8-1-5, THEN, CAN YOU REMEMBER THAT? LOCKE: (SERIOUS) YOU NEED TO EXIT THESE PREMISES, FRIEND, BEFORE I CALL THE COPS. DESMOND APPEARS DESPERATE, WORRIED, CONFUSED. WE CUT SCENES AGAIN ONE FINAL TIME. IT’S NIGHTTIME, WE’RE WITH DESMOND WHO SITS AT AN AIRPORT, NOT SURE WHERE EXACTLY. DESMOND IS SLEEPY AND RESTLESS. HE LOOKS OVER AT A NEARBY DIGITAL CLOCK, IT’S 8:15 PM LOCAL TIME. THE DIGITAL CLOCK ALSO READS, SEPTEMBER 21ST, 2004. HE EXHALES AND GETS UP. HE WALKS OVER TO A COUNTER, IT’S FOR OCEANIC AIRLINES. HE SPEAKS TO THE WOMAN BEHIND THE COUNTER. DESMOND: MISS, MAY I ASK YOU WHAT TIME A CERTAIN FLIGHT IS DEPARTING TOMORROW? OCEANIC EMPLOYEE (AUSTRALIAN): YESSIR, IF IT’S OCEANIC AIRLINES, I SHOULD BE ABLE TO TELL YOU WHATEVER YOU NEED TO KNOW. DESMOND: DEPARTURE TIME, FLIGHT 8-1-5, TO LOS ANGELES. THE WOMAN LOOKS UP ON HER COMPUTER AND RATHER QUICKLY STATES. OCEANIC EMPLOYEE: 2:15PM DEPARTURE. THAT’S LOCAL TIME. DESMOND: (SIGHS) GIVE ME A ONE WAY TICKET, PLEASE. LOST

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