Episode #: 601
L O S T
LOST “The Choice“ #601 TEASER 1 EXT. CLUSTERED TREES – DAY An EYE. Opening. Blinking. And the camera PANS OUT to reveal JACK SHEPHARD. Lying in a clearing, arms splayed out, in a simple black suit with a tie to match. He looks around him, completely unsure of where he is, or when he is, then stands up slowly, steadying himself on his wobbly knees, looking around at the trees around him – FRIGHTENED. 2 EXT. DARKENED FOREST PATH – IMMEDIATELY FOLLOWING And now Jack takes off through the trees, running through faster than he has in his life, desperate to break through the endless brush around him and find something ahead, until3 EXT. SHEPHARD HOME – BACK DOOR – IMMEDIATELY FOLLOWING Jack stops dead in his tracks, frozen in shock to find standing in front of him and the thicket behind him A PRISTINE SUBURBAN HOME. Waiting in front of Jack, resting on a homey street, a bright party out in back of it. Several GUESTS mill around, idly chatting as they sip on cocktails. However, they are interrupted by Jack's sudden arrival, breathing heavily as he stands in front of the crowd in front of him. Jack looks around at them, entirely at a loss for words . . . and yet at the same time, the ghost of a smile is creeping across his face. His reverie, however, is interrupted by WOMAN'S VOICE (O.S.) Jack? (CONTINUED) 3 2 1
2. 3 CONTINUED: 3
Jack spins around to find standing just to his left, dressed in her best Sunday outfit MARGO SHEPHARD. JACK'S MOTHER. Looking over at her son with anger, embarassment, and even fear flying across her face. MARGO (CONT'D) Jack? But Jack looks at his mother with nothing but surprise, joy, and sheer gratification. JACK Mom? Margo's eyes close with a certain knowing and shame. MARGO You're drunk. Jack's brow knits in confusion as his mother walks over to him, placing her arm around his shoulder and leading him into the crowd towards the house. 4 INT. SHEPHARD HOUSE – KITCHEN – LATER The pristine Shephard kitchen, with a gleaming tiled island in the center of the room. Jack sits on one side, his eyes unfocused on the ceramic in front of him, his mother on the other. Margo pours a cup of strong black coffee into a white mug, bringing it over immediately to Jack. Jack takes it numbly, not even looking up at his mother, but simply taking a sip of his drink. Margo moves across the kitchen island to her MARGO You want to tell me what happened? Jack looks up at his mother, entirely unsure of what to say. (CONTINUED)
3. 4 CONTINUED: JACK You probably wouldn't believe me. MARGO Please, Jack. I don't want to start this now. It's bad enough with what happened to your father, he was supposed to be here Jack looks up at Margo, concerned. JACK What happened to dad? MARGO I already told you he's in Australia, you're the one who didn't want to talk about it. Jack suddenly gets up from his chair, heading over to the door. JACK I need to lie down. Margo gets up from her chair, stopping her son at the door and putting her hands warmly on his face. MARGO Jack, wait. Can't you at least talk to me? (A beat, then:) It's my birthday. Margo smiles faintly, but Jack doesn't return the gesture. Instead, his eyes wander to the calendar on the wall, open to September 2004. Jack's eyes widen in shock. JACK It's 2004 . . . (CONTINUED) 4
4. 4 CONTINUED: Margo looks up at Jack, now seriously concerned for her son's health. MARGO Of course it is. (She checks his forehead, then:) Maybe you should lie down. Suddenly, Margo is interrupted by the phone ringing. Jack jumps slightly, but Margo walks quickly over, answering it. MARGO (CONT'D) Hello . . . yes, it is . . . yes, he's right here . . . of course. Margo looks at Jack, slightly confused as she moves the headset down a bit. MARGO (CONT'D) There's a woman who says she has to talk to you. (A beat, then:) Do you know a Kate Austen? Jack looks at his mother in complete shock, then nods, moving slowly towards the phone. He takes it from Margo trepidatiously, moving it towards his ear. JACK Hello? KATE (V.O.) Jack?! Kate. 5 JACK Where are you? 5 4
INT. MULLEN HOME – KITCHEN – MORNING KATE AUSTEN stands in a homey kitchen, dressed in a brown leather jacket, a striped tank, and dark khakis, panicked.
5. 5 CONTINUED: KATE I'm in Australia. I don't know how I got here. 6 INT. SHEPHARD HOME – KITCHEN – DAY JACK How did youKATE (V.O.) What the hell happened?! JACK I don't . . . Jack notices his mother staring at him, so he turns around, facing the window out to the backyard. JACK (CONT'D) How did you know this number? 7 INT. MULLEN HOME - KITCHEN – MORNING Kate looks around her, trying to find her bearings as she speaks frantically to Jack. KATE Because you told me. Jack, I remember everything. I remember you, I remember your mother, I remember the island, and I remember that a hydrogen bomb went off with us next to it. And from that, we WHOOSH to: 8 EXT. SWAN CONSTRUCTION SITE – DAY - FLASHBACK Kate, now appearing as she did in the season five finale, tries to pull SAWYER off of the pipes and machinery being sucked into the cavernous hole in front of them. (CONTINUED) 7 6 5
6. KATE Sawyer, get off of there! She keeps struggling to tear him away, but to no effort. KATE (CONT'D) We have to go right now. go! SAWYER Get off! Kate keeps trying to pull Sawyer off as an electromagnetic hum pulsates loudly around them. CUT TO: 9 EXT. JUNGLE - CLEARING – SIMULTANEOUSLY HUGO REYES tries to peer through the trees at what's going on at the Swan site, but he can't see anything. HURLEY Why hasn't anything happened yet? JIN (O.S.) Hurley! Hurley spins around to see JIN KWON pressing a pile of rags onto the bullet wound in SAYID JARRAH'S stomach, doing whatever he can to staunch the bleeding. JIN (CONT'D) I need some help here! HURLEY Dude, you don't want me around blood. Sayid sits up a bit, breathing heavily as he addresses Jin. SAYID It won't matter. Any second now, that bomb will go off and . . . (CONTINUED) 9 We need to
7. 9 CONTINUED: Sayid is at a loss for words, but Jin nods, accepting the truth of what is about to happen. JIN . . . whatever happens, happens. Sayid nods, bracing himself for whatever is to come. Jin and Hurley do the same as the electromagnetic pulsing grows louder, becoming a near-deafening presence for the three survivors. 10 INT. SWAN PIT – SIMULTANEOUSLY From “The Incident”, JULIET BURKE pounds on the Jughead core, desperately willing it to detonate. Come on! JULIET Come on! 10 9
And, with one last tap to the core: JULIET (CONT'D) Come on, you son of a bitch! The bomb detonates, and a white light fills the entire screen. FADE TO: 11 EXT. JUNGLE - CLEARING – IMMEDIATELY FOLLOWING 11
Sayid Jarrah lies alone, his eyes closed, the rags still covering his midsection. Suddenly, his eyes open, hoping for some indication that Jack's plan worked, but to no avail. The same jungle lies around him, just as before. But one thing has changed, which Sayid quickly notices as he looks around, his defeated expression turning to shock: SAYID Jin? Hurley?! (CONTINUED)
8. 11 CONTINUED: Sayid's calls are answered by a rustling ahead. up expectantly. SAYID (CONT'D) Hello? The bushes ahead of Sayid continue to rustle, accompanied by a sound that Sayid recognizes immediately : the WHISPERS. SAYID (CONT'D) Who are you? The whispers grow louder, coming closer and closer to Sayid, untilSAYID (CONT'D) Who are you?! SHANNON RUTHERFORD steps out from the jungle, standing in front of Sayid, dressed in a fresh outfit and looking resplendent. Sayid stares forward in shock. SAYID (CONT'D) Shannon . . . SHANNON Hello, Sayid. (She steps forward, then:) I need you to get up and follow me. SAYID I can't get up . . . I was shot. Shannon and Sayid down at Sayid's wound. Please. SHANNON You're fine. 11 Sayid looks
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Sayid slowly removes the rags to discover that his wound has entirely healed. He looks up at Shannon, desperate for an answer. SHANNON (CONT'D) Just come with me. (Sayid does nothing, so:) I need you to believe in me. SAYID Why? SHANNON Because you have work to do. Sayid stares forward at Shannon, completely dumbfounded. END OF TEASER
10. ACT ONE 12 EXT. JUNGLE – PATHWAY - A LITTLE LATER Shannon seems to know where she's going as she walks steadily through the jungle, Sayid at her heels. SAYID Can you answer any of my questions? SHANNON I could. But I'm taking you to someone who could tell you a whole lot more. Sayid takes Shannon's arm, turning her around to face him. SAYID Then at least tell me what you are. SHANNON (Annoyed:) I'm dead, all right? You were there. But this Island isn't exactly a place where you can stay dead. (Off his look:) Haven't you ever wondered what the whispers are? SAYID So, now there are ghosts walking around? SHANNON Not quite. The man I'm taking you to see can tell you all about it. Shannon starts to turn around, but Sayid stops her SAYID No. How can I be sure that you're really Shannon and not Shannon cuts him off by planting a KISS right on his lips. (CONTINUED) 12
11. 12 CONTINUED: 12
A long, passionate kiss. And as she breaks apart, she leaves Sayid with his eyes closed, the memory of their time together rushing back to him. Shannon, however, keeps her gaze level, cold and calculating. SHANNON It's me. She turns around and starts walking, then: SHANNON (CONT'D) Or maybe you don't remember. Sayid opens his eyes, then starts jogging after Shannon. SAYID Shannon, I'm sorry. I thoughtSHANNON It's fine, Sayid. I think I always knew we weren't really meant to be together. SAYID I did love you. SHANNON I know. Shannon stops at some trees, looking around for something or someone. SHANNON (CONT'D) He should be here soon. SAYID Who should? SHANNON (Matter-of-fact:) Jacob. (CONTINUED)
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Shannon turns around, expecting some sort of understanding from Sayid, but is instead met with: SAYID And who is Jacob? Shannon opens her eyes in surprise, but cannot stifle a bit of a grin. SHANNON You don't know him. I guess you wouldn't. (Seriously:) But you've met him before. SAYID Where? But before Sayid can answer, a man steps out from the bushes in front of them. And, just as Shannon said JACOB. Dressed in his simple white shirt and khakis. Barefoot. As if he had just stepped away from his home. And now Sayid looks at him, memory beginning to stir in his eyes. JACOB Hello, Sayid. SAYID You were the man . . . who asked me for directions. The day that Nadia was killed, you said you were lost. JACOB And so I was. But now you're the one who needs my help. SAYID Why? (CONTINUED)
13. 12 CONTINUED: JACOB Because you have a choice to make. And your choice starts at the Orchid. Sayid raises an eyebrow to the Orchid Station. SAYID Then we should go. Jacob nods, heading back into the jungle. After a moment, Sayid follows after him, Shannon remaining behind. And the WHOOSH starts up once more, taking us to : 13 EXT. TAWARET STATUE – BEACH EXTERIOR – NIGHT 15 12
SUN KWON sits on the beach, staring forward at the corpse of JOHN LOCKE lying sideways in the sand in front on her. She then looks up at the coffin next to him, and further above that, at the group of OTHERS huddled together. Sun's gaze, however, is broken by FRANK LAPIDUS, who walks up to her, taking a seat and staring forward at John Locke. FRANK Glad to see you're OK. SUN And you. FRANK Actually, I've had a bit of a headache. Nosebleed, too. (A beat, then:) Probably just stress. Lack of sleep, you know? (Re: Locke's corpse) What do you make of that? SUN (Re: Richard and Ilana) Something tells me they're trying to figure that out. (CONTINUED)
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A ways away from them, ILANA stands, her gun cocked behind her, in front of RICHARD ALPERT, whose eyes glance towards the statue as he speaks with her. RICHARD I don't know what more I can tell you. He seemed different to me, but he looks just like John Locke. ILANA He's not. RICHARD I think we're all aware of that, thanks. Ilana doesn't even crack a grin, but follows Richard's gaze over to the statue. ILANA Why did he want to come here? RICHARD He said he wanted to know what Jacob's intentions were. Said he wanted to be reunited with his people. ILANA If he was looking for Jacob, why didn't he go to the cabin first? Richard breaks his gaze from the statue, looking at Ilana quizzically. RICHARD What cabin? Ilana looks at Richard suspiciously, her hand drifting imperceptibly towards her rifle. Richard takes notice of this, but makes no comment. (CONTINUED)
15. 13 CONTINUED: ILANA I have to wonder if you're telling the truth about this. RICHARD And I have to wonder who you are. ILANA My name is Ilana, and I'm with Jacob, just like you. RICHARD You know, I've been on this Island a long time, and I don't ever remember meeting you. ILANA It's been a long time since I've been here. RICHARD How long? Ilana pauses, unsure of what to say, but she is interrupted by Sun. SUN Help! Someone please, I need some help here! Richard immediately runs over, pushing his way past several of the Others. RICHARD Move it, come on, move it . . . Richard reaches Sun, who stands over an unconscious Frank, several small paper napkins squeezed around his bloody nose. RICHARD (CONT'D) What happened? (CONTINUED) 13
16. 13 CONTINUED: Richard bends down, examining Frank. SUN I don't know. He said he had a headache, then he just . . . RICHARD All right. Get some some water and some more towels. Sun nods, getting up and heading back into the crowd. Ilana moves over to Richard, bending down next to him. ILANA You ever seen this before? RICHARD Nothing quite like it, no. (He turns around, then:) Sun, do you have the . . . But Sun is nowhere to be found. around in the crowd. Richard stands up, looking 13
RICHARD (CONT'D) Did anyone see where she went? No one speaks up. Ilana looks around, seriously concerned.
ILANA It's like she disappeared. Richard turns back to her, nodding gravely as the WHOOSH sound starts up. Jin. 14 SAYID (V.O.) Hurley. They just disappeared. 14
EXT. JUNGLE – PATHWAY – DAY Sayid follows Jacob through the jungle.
17. 14 CONTINUED: JACOB They have their own journeys now. You can only be concerned with yours. Sayis looks around, frustrated by Jacob's cryptic answers. SAYID Then at least tell me what it is. Why everything has happened since we boarded Ajira 316. JACOB You know, Sayid, I find it interesting that of everyone who came back here, you were the only one who didn't choose to go on board. SAYID What are you talking about? JACOB Jack, Kate, Hurley, Sun . . . they all returned to the Island willingly. But you were forced to. SAYID Why would I ever choose to return here? Jacob turns around to face Sayid, an expression of calm on his face to counter Sayid's impatience. JACOB Because you have a part to play in the destiny of this Island . . . if you choose to, of course. (A beat, then:) But you're not one to make choices, right? SAYID You don't know who I am. (CONTINUED) 14
18. 14 CONTINUED: Jacob smiles as he turns around. JACOB We're here. Jacob steps through a large underbrush. Sayid follows. 15 EXT. ORCHID WELL – IMMEDIATELY FOLLOWING After a moment, 15 14
Jacob leads Sayid out towards the stone well at the Orchid site. JACOB You want to leave this island, Sayid? Well, here's your way out. Sayid examines the well carefully, his eyes moving towards the rope descending downward. SAYID You're telling me if I go down this well I can return to my old life? No bullet wound, nothing? JACOB Your past here will be erased. (Off his look:) I guarantee it. After a moment, Sayid nods, taking the rope into his hands and checking its endurance. He then looks back up at Jacob. SAYID Can you at least tell me what happened? JACOB There's a war on this Island, one that we're all a part of. And when Juliet Burke detonated that bomb . . . (CONTINUED)
19. 15 CONTINUED: JACOB (CONT'D) things changed. History was ripped open, just as you thought it would be. And now you can make all the choices you wished you could have. SAYID So it worked. JACOB It did what you wanted it to. Jacob nods towards the well, but Sayid remains immobile, standing over the well. SAYID What are you not telling me? JACOB What I'm not telling you is that I've just been killed by Benjamin Linus. SAYID (Nonplussed:) I'm sorry, but I'm not surprised. JACOB I wasn't either. I planned for it. (A beat, then:) And you're part of that plan. SAYID You're saying I'm one of your soldiers? JACOB (Pensive:) It doesn't exactly work like that. SAYID Then I doubt you have any need for me. (CONTINUED) 15
20. 15 CONTINUED: And, without another word, Sayid descends into the well. 16 INT. FROZEN DONKEY WHEEL – A LITTLE LATER 16 15
Breathing heavily, Sayid slides down the lowest portion of the rope, emerging into the frozen chamber below. His eyes immediately move towards the wheel in front of him, a wrench resting beside it. Sayid moves the wheel, examining it. Suddenly, he is startled by Shannon's voice behind him. SHANNON Just turn it and you're off the Island. SAYID This is what John moved, isn't it? SHANNON Don't worry. The wheel won't move the Island, just you. Sayid looks back at Shannon, then picks up the wrench, slamming it down into one of the spokes. SAYID Will I end up where he ended up? SHANNON Like it'd be that simple. Sayid nods, turning back to the wheel and starting to move it. Shannon stares forward mournfully. SHANNON (CONT'D) Goodbye, Sayid. SAYID Goodbye, Shannon. Sayid finishes moving the wheel, and he and Shannon are engulfed in a bright white light. END OF ACT ONE
21. ACT TWO 17 EXT. UNKNOWN DESERT – MORNING 17
Another EYE opens wide, blinking in the morning sun. But it is immediately clear that this is certainly not Jack's. And as we pan out once more, we see that we are with HURLEY. Lying on his back in the sand. In a plaid button down shirt over a green T-shirt. Seemingly in the middle of nowhere. He looks around him, standing up slowly as he tries to gain his bearings. And, just as he's about to give up hope on finding any sort of civilization A SHACK. Just outside of the corner of Hurley's eye. Placed alone in the desert, miles away from anything else. After a moment, Hurley catches eye of this, taken entirely off-guard. HURLEY No way. Hurley sighs to himself, then sets off for the cabin. 18 EXT. TOOMEY HOME – ENTRANCE – IMMEDIATELY FOLLOWING 18
Hurley knocks on the front door, waiting expectantly for an answer. After a few moments, the door opens, revealing MARTHA TOOMEY, dressed just as she was when Hurley visited her in “Numbers”, annoyed at Hurley's appearance. MARTHA Now, Mr. Reyes. I've told you all I know. If you'd just be on your way . . . Martha shuts the door as she finishes, leaving Hurley standing in the desert. HURLEY Hey, wait! (CONTINUED)
22. 19 INT. TOOMEY HOME – LIVING ROOM – MORNING – FLASHBACK Hurley sits with Martha Toomey, sipping coffee. HURLEY Leonard Sims . . . he told me about Sam hearing something. MARTHA You're talking about the numbers. HURLEY I used them, the numbers, to win the lottery. And now I think I'm under the same curse. MARTHA You make your own luck, Mr. Reyes. Don't blame it on the damn numbers. You're looking for an excuse that doesn't exist. Hurley leans back, defeated at Martha's answer to his questions. 20 EXT. TOOMEY HOME – ENTRANCE – MORNING Martha opens the door once more, confused and starting to get pissed off. Hurley steps back, still in shock. HURLEY Hey. MARTHA Well, if you're going to scream yourself hoarse. Martha opens the door, letting Hurley into the cabin. 21 INT. TOOMEY HOME – LIVING ROOM – IMMEDIATELY FOLLOWING 21 20 19
Hurley re-enters the homey room, looking around in wonder. Martha, however, seems frustrated as she closes the door behind her. (CONTINUED)
23. 21 CONTINUED: HURLEY It's September 2004, isn't it? MARTHA Yes, of course, September 15, 2004. (A beat, then:) You're suffering from the damn heat, aren't you? Martha moves over to the sink, preparing a glass of water for Hurley. Hurley moves back to the couch, steadying himself as he looks at Martha in shock. HURLEY Nothing. I'm just a little . . . confused. Martha returns to Hurley, offering him the glass of water with a grimace. MARTHA Well, that's not hard to see. Hurley takes the glass of water, slowly taking a sip. MARTHA (CONT'D) What is it you want, Mr. Reyes? Here to tell me more about your curse? Hurley pauses, setting the glass of water down on a table by Martha's sofa, starting to realize the full ramifications of the success of Jack's plan. HURLEY (To himself) It's not a curse, it's a gift . . . I can change it now . . . Hurley starts moving out of the house towards the car. Martha stares at him furiously for a moment, then follows him out. (CONTINUED) 21
24. 22 EXT. TOOMEY HOME – ENTRANCE – IMMEDIATELY FOLLOWING Hurley strides towards the pristine car in the desert, Martha a few paces behind him. MARTHA Where do you think you're going? Mr. Reyes! Mr. Reyes! Hurley reaches the car, unlocking it and turning back to Martha, smiling. HURLEY I gotta get to Sydney. Martha stares at Hurley in shock as he climbs into the car. HURLEY (CONT'D) Thanks for your help! And, without another word, Hurley slams the car door, taking off into the desert. 23 INT. OCEANIC PLANE – BUSINESS CLASS – DAY 23 22
Sayid sits in a row by himself, reading a newspaper idly. After a moment, a light beep is heard in the cabin. Sayid looks up to see that the “Fasten Seatbelt” sign has turned on. He then buckles his seatbelt, smiling to himself as he sets the newspaper down on the chair beside him. STEWARDESS (V.O.) Ladies and gentlemen, the captain has turned on the fasten seatbelt sign. We're coming in for our final landing at LAX. Thank you for flying with Oceanic Airlines on Flight 739. Sayid settles back in his chair as the plane lands, glancing over at the paper beside him. PAN IN on the paper to find the date : September 22, 2004. The familiar WHOOSH is heard and we CUT TO : (CONTINUED)
25. 24 EXT. LOS ANGELES PARK – POND – EVENING - FLASHBACK 24
NADIA and Sayid walk hand-in-hand throughout the park, enjoying the beautiful landscape around them. As they reach the edge of the pond, Nadia stops, looking across it, then back at Sayid. NADIA This looks like a good spot. SAYID Then we'll stop here. Sayid and Nadia sit on the grass, staring out at the lak. NADIA I've come here many times before, you know. It's a beautiful spot. SAYID It is. It's been a long time since I've been able to enjoy something like this. NADIA (Concerned:) Because of what happened on that island? SAYID (Uncomfortable:) Yes. Nadia reaches forward, placing her hand on Sayid's arm. NADIA What happened there? you not telling me? What are
Sayid looks over at Nadia, suddenly becoming emotional. SAYID If I told you everything I did, everything I've done my whole life(CONTINUED)
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Sayid breaks away, and after a moment, takes a stone and throws it into the lake ahead. After a moment, Nadia does the same. 25 INT. JEWELRY SHOP – MAIN SHOWROOM – DUSK 25
Sayid walks into the empty shop, looking around for someon. SAYID Hello? Is anyone here? to buy a ring. I'm looking
VOICE (O.S.) You're just in time. We were about to close. Sayid looks to the back of the shop, towards the source of the voice. After a moment, a woman steps out, smiling at Sayid. The woman? ELOISE HAWKING. HAWKING (CONT'D) Now, you said you wanted a ring. an engagement? SAYID Hopefully, yes. Hawking smiles, taking Sayid over to a case by the front. HAWKING (CONT'D) If you don't like any of these, we have some new pieces in the back. Sayid shakes his head, pointing to a simple but elegant ring in the front of the case. SAYID That one there's perfect. Hawking looks up at Sayid, thinking quickly as she waves towards the back. (CONTINUED) For
27. 25 CONTINUNED: HAWKING The rings in the back are truly a wonder, and at a fair price. Why don't you just go and take a look? SAYID Thank you, but I'm in a hurry, so if you could take that one out. No, Sayid. HAWKING I can't. 25
Sayid stares up, staring daggers across the case at Hawking. SAYID Who are you? HAWKING It doesn't matter who I am. What matters is that you are about to make the most important choice of your life, and I have to tell you what it is. Sayid looks at Eloise for a moment, then lunges across the case, grabbing her by the top of her cardigan and lifting her up into the air. SAYID What do you want from me?! HAWKING All I want is for you to do what you're supposed to do. SAYID And if I don't? HAWKING Then the fate of this entire world is left to chance. (CONTNUED)
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Sayid stares at Eloise for a good long moment, then sets her down, heading towards the rear of the shop. HAWKING (CONT'D) What are you going to do, Sayid? Go back to your wife? Life your life a torturer, a murderer? Sayid turns around, resolute at the door, prepared for anything Hawking has to say. SAYID That's exactly what I'm going to do. HAWKING Then you will live it alone. He wasn't prepared for that. SAYID What are you talking about? Hawking grimaces, moving around the shop and closing up as she speaks. HAWKING You see, Sayid, when your plane crashed on the Island, Nadia was on her way to work. She was passing by a television store when she saw the crash on the news. Since you had no immediate family to speak of, your photograph was one of the first released to the public. Hawking finishes locking the doors and windows, moving back to the cases, Sayid's eyes following her as she goes. HAWKING (CONT'D) Needless to say, she took a personal day to research your apparent death. (CONTINUED)
29. 25 CONTINUED: HAWKING (CONT'D) But now, because of what you did, the Swan station was never built. There was no electromagnetic build-up for Desmond Hume to lose control of, and consequently, your plane never crashed. In fact, it was grounded. Your friends are still waiting for a flight. Eloise finishes locking up the cases, sighing to herself as she finishes. Sayid immediately jumps on her pause. SAYID What does this have to do with Nadia? HAWKING She never saw your photograph on that screen. Consequently, she never took a personal day, and on the way home from her office, two hours ago, she was struck down by a driver in a tragic accident. Tears well in Sayid's eyes as all hope for happiness with Nadia is dashed in an instant. HAWKING (CONT'D) She was meant to die, Sayid, not to be with you. No matter what you try to do, you cannot save her. (A beat, then:) So, Mr. Jarrah, I'll ask you one more time: will you come with me to the back of the store? END OF ACT TWO 25
30. ACT THREE 26 EXT. AUSTRALIAN OUTBACK – DAY Hurley's car drives down the road, cutting through the desert. 27 INT. HURLEY'S CAR – SIMULTANEOUSLY 27 26
Hurley sits in the driver's seat, barely paying attention to the road as he thinks about the situation. Joe Purdy's “Wash Away” plays quietly on the radio. HURLEY You're not going crazy . . . it worked. Nothing happened. You're going to get back home and everything will be fine. Hurley makes a turn and discovers a figure in the distance. He regards it suspiciously. HURLEY (CONT'D) Dude, not now. Hurley presses forward on the acceleration, drawing closer and closer to the figure. Sand starts flying up around the wheels, obscuring Hurley's view as he draws closer to the figure. After a few moments, Hurley slows down, bringing the car to a stop and immediately jumping out. 28 EXT. AUSTRALIAN OUTBACK – IMMEDIATELY FOLLOWING 28
Hurley starts coughing immediately, sifting his way through the sand as he tries to see straight. Hello? HURLEY Is anyone out there?
MAN'S VOICE This must be your first time driving in the desert, friend. (CONTINUED)
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The sand clears, and Hurley's eyes widen in shock at the man in front of him : JOHN LOCKE. Dressed in a simple white T-shirt over khakis. And, of course, confined to a wheelchair. Locke smiles warmly at Hurley, but Hurley can barely believe his eyes. LOCKE (CONT'D) Sorry if I got in your way, I was just getting a feel for the terrain. You probably haven't heard of them, but I've signed up for a walkabout tour. (Off Hurley's look:) Are you OK? You look like you've just seen a ghost. HURLEY How did you get here? LOCKE Excuse me? HURLEY You were . . . you were dead, how could youDead? LOCKE What are you talking about?
HURLEY Locke, you wereLOCKE Hey, how do you know my name? Locke looks at Hurley, entirely clueless and a little suspicious. And now it dawns on Hurley: Locke doesn't remember what happened. This Locke has never been to the Island before. As this knowledge sinks in, Hurley wipes his brow, seriously freaked out. (CONTINUED) 33.
CONTINUED: HURLEY Uh . . . never mind, dude. Hurley backs into his car, starting it up immediately. Locke wheels forward, mystified by Hurley's presence, but Hurley drives off before he can reach the car.
INT. JEWELRY SHOP – BACK ROOM – DUSK Hawking leads a nearly numb Sayid into the darkened back room, switching on a light to reveal a nearly empty room, save for a chess table in the center and a few cluttered desks around the edges. HAWKING Here we are. Sayid shuffles into the room, barely noticing his surroundings as Hawking turns around to face him. HAWKING (CONT'D) I'm sure you have many questions about what has happened, but I'm afraid we don't have time to worry about the past. All we can do now is more forward. Sayid looks up, tears still welling in his eyes. SAYID Move forward? You expect me to just forget about Nadia? Why not? HAWKING You've done it before.
Sayid glares at Hawking, but she shrugs. HAWKING (CONT'D) Well, when this happened before you just turned around and became an assassin for Benjamin Linus. (CONTINUED)
33. 29 CONTINUED: SAYID How did you know? HAWKING It's my job to know. SAYID Your job? Hawking smiles knowingly, moving towards the chess table and inviting Sayid to sit down. He does so, hanging onto her every word. HAWKING You see, we all have a job in this world, a purpose. And, of course, we all have a boss. Mine is a man called Jacob. And we are both at war. SAYID He said that as well. HAWKING I'm sure. Of course, I don't think of it so much as a war, but rather a game. One with the highest risks imaginable. (Re: Chess board) You see here? Two players. Two sides. One is light, one is dark. And on each side, a king that one must capture in order to win. Eloise reaches across to Sayid's side, picking up the white king and twirling it lightly in her hand. HAWKING (CONT'D) Jacob is our king, and the enemy has just forced him into check. We're now a hair's breath away from checkmate. But there's always a failsafe, and that failsafe begins with you. (CONTINUED) 29
34. 29 CONTINUED: SAYID You want me to save the Island. Hawking nods silently. Sayid then stands up, leaning over the table aggressively. SAYID (CONT'D) It's an island. A unique one, yes, but it's just a piece of land. HAWKING No, it isn't. She rises, getting in Sayid's face, not angry, but clearly making her point. HAWKING (CONT'D) Do you know what the Island is? It's a place where the forces of this world collide. SAYID You're talking about electromagnetism. HAWKING I am talking about humanity. Fate and free will. That is what's at stake here. Hawking has clearly made her point and is starting to convince Sayid, but he backs away, shaking his head. SAYID If Jacob is as powerful as you say he is, if he wants me to do something for him, why is Nadia still dead? HAWKING Death is more powerful a force than anything any of us can control. (CONTINUED) 29
35. 29 CONTINUED: 29
Sayid shakes his head, moving to the back of the room and absentmindedly leafing through files. And it's clear on his face – Hawking is really convincing him. And for Sayid, a man who has always believed only in what he can see . . . there's a real change happening here. So now, when Sayid is so close to actually considering Hawking's offer, she lobs her final shot over. HAWKING (CONT'D) Redemption, Sayid. You, of all people, have been searching for it for so long. Sayid doesn't turn around, but simply closes his eyes, nodding imperceptibly to himself, realizing that, even though he may not believe everything Hawking says, he is willing to accept anything. SAYID What do you want me to do? Now Hawking nods to herself, heading to the back desk and taking a small leaflet from the top. She then walks towards Sayid, handing him the leaflet. HAWKING History is being rewritten as we speak, and it is now up to us to make sure that time doesn't destroy itself. (A beat, then:) I want you to have Oceanic Flight 815 get back to the Island. And although Sayid should be blown away by this piece of information, should be shocked at his mission, he simply nods. SAYID Where do I start? END OF ACT THREE
36. ACT FOUR 30 INT. MULLEN HOME – KITCHEN – DAY 30
Kate sits alone on the kitchen table, staring at the window outside, overlooking the farm ahead. A clock on the wall ticks slowly by as Patsy Cline's “Walking After Midnight” plays quietly on the kitchen radio. Kate's reverie is suddenly broken by the doorbell. Though she doesn't jump, Kate out of her seat, switching the radio off of the room to answer the door. After a her quietly distressed voice. KATE (O.S.) Hey . . . No, it's fine. in. ringing of a immediately gets and heading out moment, we hear
After another moment, Kate walks back into the room, closely followed by Jack. The two take a seat at the table, sitting in silence for a moment. KATE (CONT'D) You want some coffee? Jack looks up at Kate, nearly laughing at her awkward question. JACK No, thanks. KATE Thanks for coming out here so fast. Of course. out of LAX. (A beat, then:) Have you heard from anyone else? KATE No. You? (CONTINUED) JACK Took the first flight
37. 30 CONTINUED: JACK No. An awkward silence starts again between Jack and Kate, though they both have countless questions on their mind. KATE Why do we remember everything, Jack? Dan said we wouldn't. JACK He said the plane would never crash. And it hasn't. We don't have to board it, we don't have to go through everything again. It worked. KATE How do you know that? Flight 815 hasn't even taken off yet. JACK And when it does, it'll land in Los Angeles. We won't even be on it. Jack looks over at Kate, who's clearly not convinced. sighs, once again having to explain himself to her. JACK (CONT'D) When we first landed on the Island, you tried to tell me why you were a fugitive. And I told you that it didn't matter who we were. That we should be able to start over. Now's our chance. KATE Something's wrong. I know it, something didn't go right. JACK No. It worked. (CONTINUED) He 30
38. 30 CONTINUED: Jack clearly thinks he's closed things up, but there's no swaying Kate. KATE What if it didn't? What if we're supposed to do something else? JACK There's nothing else we're supposed to do but go on with our lives. (A beat, then:) It worked. Kate studies Jack for a good, long moment, realizing that there's no convincing him. So, she simply gets up, pouring herself a cup of coffee and looking out the window. And now the most awkward moment yet settles between the two, one that remains unbroken. 31 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT The church, exactly as seen in “This Place is Death”, deserted other than the car that pulls up in front of it. 32 INT. ELOISE HAWKING'S CAR – IMMEDIATELY FOLLOWING Hawking doesn't bother to turn off the car, but instead looks over towards Sayid, who looks out at the church. SAYID This is where I'm supposed to go? HAWKING The Dharma Initiative built a station underground, then constructed a church over it. Hawking passes a file over to Sayid, who takes it with little interest, flipping through it. 32 31 30
39. 32 CONTINUED: HAWKING (CONT'D) The purpose of the station was to find the Island's location. If history is to be corrected, I need access to that station's equipment. SAYID Who has control of it now? HAWKING I believe you know Charles Widmore? SAYID So, what do you want me to do? Hawking nods to the glove compartment, which Sayid opens cautiously. He sees that it is empty, save a single PISTOL. He looks back at Hawking, understanding what she wants him to do. SAYID (CONT'D) There has to be an alarm. Hawking nods, looking over at Sayid's shirt pocket. HAWKING In your jacket pocket. What is it? 32
Sayid takes out a photograph from his shirt pocket, revealing it to be his photograph of Nadia. Hawking sees Arabic writing on the back of it. HAWKING (CONT'D) What does it say? SAYID You'll find me in the next life if not in this one. Hawking says nothing, but Sayid understands her words. After a moment, he takes the gun, getting out of the car and heading into the church. (CONTINUED)
40. 33 EXT. LAMP POST CHURCH – ENTRANCE – IMMEDIATELY FOLLOWING 33 Sayid walks into the church, his eyes kept resolutely forward. As he reaches the steps, he checks the ammo. 34 INT. SAYID AND NADIA'S BEDROOM – NIGHT – FLASHBACK 34
Nadia walks into the room, dressed in simple pajamas to find Sayid dressed in an undershirt and boxers, sitting on the edge of the bed, head in his hands. Immediately sensing that something is wrong, she walks over, sitting down and placing a caring hand on Sayid's shoulder. NADIA What is it? Sayid looks up at Nadia, tears welling in his eyes. This is a private moment for Sayid, possibly more private than we have ever seen from him. But if he can speak to anyone about what is on his mind, it's Nadia. SAYID Do you really think I'm a good person? Of course. How? you. NADIA I love you.
SAYID How can you . . . I tortured I took away your free will.
Nadia pauses, reminded of what she often chooses to forget. NADIA That was a long time ago. were following orders. You
SAYID I could have left. We could have left together. Nadia takes Sayid's head in her hands, turning it towards her own. (CONTINUED)
41. 34 CONTINUED: NADIA They would have killed us. did what you had to do. You 34
SAYID You want to know what I did on that island? I tortured a man because I hated him. I killed four people. (A beat, then:) I'm not a good person. NADIA Don't say that. Nadia embraces Sayid tightly. His head on her shoulder, Sayid closes his eyes, comforted by Nadia's embrace. But one question still remains in his mind : SAYID Are you afraid of me? Nadia shuts her own eyes. NADIA No. I'm not afraid of you, and you shouldn't be afraid of yourself. Sayid nods, comforted by Nadia's kind words. And as the two share a moment, the WHOOSH starts up as we go back to: 35 INT. LAMP POST CHURCH – CHAPEL – NIGHT 35
Sayid enters the room, his eyes landing on a LONE MAN sitting in the front pew. Sayid looks forward at him, the raising his gun slowly. CLOSE UP ON Sayid's face, really thinking about the situation, about his options, about what he's there to do. And then, after a moment, Sayid clicks off the safety, breathing in and out, then SHOOTS. And off the gunshot END OF ACT FOUR
42. ACT FIVE 36 EXT. TAWARET STATUE – BEACH EXTERIOR – NIGHT 36
The entire camp communicates in hushed, whispers, trying to find out what's going on. At the edge closest to the statue, Frank lies on a makeshift stretcher, Richard at his side. Ilana stands next to them, impatient. ILANA Can you do anything more for him? RICHARD Not until I know what's wrong with him. Ilana bends down, speaking in a near-whisper. ILANA (Re: Statue) Let me go in there. Just me, just to see what RICHARD (Firm) Not until we get some . . .
Richard is distracted by the sudden appearance of BENJAMIN LINUS at the entrance to the statue. Richard stands slowly, facing Ben as the rest of the camp notices his presence. BEN Hello, Richard. RICHARD Ben, where's . . . where's John? BEN He'll be out in a minute. He has news.
The Others stare at Ben with a mixture of apprehension and fear. Ilana gets a good grip on her rifle, but doesn't raise it. Richard steps forward. (CONTINUED)
43. 36 CONTINUED: RICHARD Well, I'd like to hear what he has to say, considering we just found John Locke's body. Ben immediately realizes he's been caught in his lie. But, of course, it's Ben, and this is nothing new. So instead of panicking or betraying any fear, he simply nods. BEN Well, there you have it, Richard. The man that's in there isn't John Locke. The camp stares at Ben, shocked at the turn of events. he isn't even finished yet. BEN (CONT'D) But he is our leader. And now, when danger is coming our way, we need him to lead us safely through this Island. RICHARD What kind of danger? BEN The one that's causing your nose to bleed. Richard and Ilana both look at Richard's nose, which, sure enough, has a small trickle of blood running down to his lip. Richard quickly wipes away the blood, looking up at Ben in fear. And off his look, the WHOOSH brings up back to 37 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 37 But 36
Sayid exits the church, gun in hand, expecting anything. But he finds the street completely empty, save for the sound of footsteps growing nearer. So Sayid heads down the steps, looking over to see : BEN. (CONTINUED)
44. 37 CONTINUED: BEN Hello, Sayid. Sayid, though he should reach for his gun, simply steps forward to meet Ben. SAYID What are you doing here? BEN I would have expected a little more sympathy now that you know that you shot me. SAYID It didn't work. BEN That's because it wasn't supposed to work. Nothing that we do works unless fate allows it to. SAYID If that's true, how am I back here? Jack's plan worked. BEN Did it? (Off Sayid's look:) What did Eloise tell you would happen? Although his mind tells him not to listen to Benjamin Linus, to simply walk away, Sayid cannot help continue the conversation. SAYID She said there was a war, and that we were fighting for Jacob. She lied. BEN Or someone lied to her. (CONTINUED) 37
45. 37 CONTINUED: SAYID Why should I believe you? BEN Because the same exact thing happened to me. (A beat, then:) The . . . man that Jacob is fighting against . . . he has certain abilities. He can pretend to be someone he's not. SAYID So can you. BEN I can't get into someone else's skin, no matter how much I try. But he can. 38 INT. HYDRA STATION – HOSPITAL WING – NIGHT – FLASHBACK 38 37
In “Whatever Happened, Happened”, Ben awakes to find Flocke sitting next to him. BEN (V.O.) He made me believe he was John Locke, he made poor Eloise believe he was God only knows who. 39 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT Ben picks up the pace as his story reaches a conclusion. BEN And he made her believe that sending you into that church to kill the man working there would bring your friends back to the Island. But that's not going to happen now. SAYID And why not? (CONTINUED) 39
46. 39 CONTINUED: BEN Because, Sayid, that equipment in there has a entry code that only the man working there knows. And now that he's dead . . . the Island can't be found. (A beat, then:) He's won. And now the fate of this entire world . . . SAYID Is left to chance. Sayid smiles to himself. Ben looks at him furiously. 39
BEN You think this is a joke? No. What? SAYID For a long time, I thought that I was no better a human being than you. But now I know that's not true. (Off Ben's look:) I made my choice. 40 INT. LAMP POST CHURCH – CHAPEL – NIGHT – FLASHBACK Sayid fires his gun, startling the man in the pews. The bullet hits the floor right next to him as Sayid marches forward, his gun aimed right at the young man. YOUNG MAN Who are you? SAYID There's a Dharma station here. you to take me to it. I want (CONTINUED) 40 SAYID I just realized something. BEN
47. 40 CONTINUED: The young man is terrified of Sayid, but tries to remain firm. YOUNG MAN There'll be others coming here that'll kill you if you try to enter. (Sayid doesn't back down, so:) Shoot me if you want, but you'll never get in. There's a code that only I know. Sayid moves in, pressing the cold barrel of the gun directly on top of the man's forehead. He looks up at it, nearly crying out of fear. SAYID Then I suggest you move quickly. The man looks at Sayid for a split second, then nods, getting up and heading into the back of the chapel. Sayid, his gun directly at the man's head, follows. 41 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 41 40
Ben looks at Sayid in shock as Sayid finishes triumphantly. SAYID I'm not a killer anymore. And while Sayid expects Ben to attempt some new manipulation or toss some revelation, he simply smiles, nodding at Sayid's accomplishment. BEN Then I thank you. Sayid walks around Ben, starting back down the street, only to find Nadia. Standing silently in waiting. Sayid stares at her in shock, but Ben mournfully to himself. SAYID Nadia . . . they said you were dead. (CONTINUED)
48. 41 CONTINUED: NADIA You don't know. SAYID What? (To Ben:) Know what? BEN Jacob has abilities, too. He has a connection to the world of the dead that no one else has. Sayid stares at Ben in confusion for a moment, but then the realization slowly dawns on him. 42 EXT. JUNGLE – CLEARING – DAY – FLASHBACK 42 41
And we're back on Sayid, Jin, and Hurley, dressed in their Dharma jumpsuits, the bullet wound still in Sayid's stomach. SAYID Any second that bomb will go off and . . . JIN Whatever happens, happens. The electromagnetic pulsing once again reaches a deafening level, surrounding the group. Sayid leans back against the ground, breathing heavily. Jin leans over, seriously concerned now. Sayid! JIN (CONT'D) Sayid!
But Sayid cannot hear him. His breathing slowly down and he closes his eyes, dying just before the explosion.
49. 43 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT Sayid looks back at Ben, tears in his eyes. BEN I'm sorry. Sayid shakes his head, walking away from Ben and over to Nadia. SAYID Now we can go away. NADIA Forever. (A beat, then:) You are a good person, Sayid. Sayid smiles, believing those words for the first time in a long time. After a moment, the two start walking away, leaving Ben behind. As they turn a corner, Sayid grasps Nadia's hand softly. CUT TO BLACK: END OF EPISODE 43