Lost Script 3 by daet

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									Episode #: 603

“The Wrong Side”


A pristine, traditional Dharma home, though one with a few more expensive decorations than, say, Ben's. A few knick-knacks lie on some of the shelves, and an ornate wall hanging featuring the yin and yang is placed ceremoniously across from the dinner table. This is the home of HORACE GOODSPEED. The room is empty, but the ring of a doorbell signals Horace's appearance. He walks into the room, tying his long hair back into a ponytail. HORACE I'll be right there! Horace heads over to the: 2 INT. DHARMA HOME – FRONT DOOR – CONTINUOUS – FLASHBACK 2

Horace walks quickly over to the door, opening it to reveal MILES STRAUME, dressed in his Dharma gear, looking slightly nervous. Horace smiles jovially, shaking Miles hand. HORACE Hey, Miles. Good to see you. Miles takes Horace's hand cautiously. MILES Hey. Horace welcomes Miles into his home, shutting the door behind him and taking us back over to the: (CONTINUED)


Miles takes a seat as Horace gets himself a glass of water. HORACE You want something to drink? MILES I'm good. (A beat, then:) Any particular reason you wanted to see me? Horace sits back down, taking a sip of water. HORACE No, of course not. I meet with all the new recruits. Just try to get to know everyone. (A beat, then:) So, what do you think of Dharma so far? MILES Uniform's pretty ugly, but what can you do? (A beat, then:) It's fine. HORACE That's good to hear. By the way, I'm sorry that you had to go through a funeral your first month here. Miles looks at Horace suspiciously, sensing something wrong. But he simply shrugs. MILES People die. HORACE Shame about Warren though. A heart attack right after what happened to Paul . . . (CONTINUED)

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Horace nods in mourning, raising his glass in a toast to his deceased comrades. He then drains his glass, returning his gaze to Miles. HORACE (CONT'D) You mind if I ask you something, Miles? MILES No. HORACE Stuart told me he was talking to you right before the funeral started. He said that you mentioned that Warren had a heart attack. MILES (Uncomfortable) I guess I might have. HORACE Miles, that wasn't public information. Now, I don't mean to pry, but do you mind telling me how you knew that? MILES Someone must have mentioned it. (A beat, then:) Listen, I've gotta go. Miles gets up quickly, nodding to Horace and heading for the door. Far too quickly to be believable.. HORACE Is it because you can speak to the dead, Miles? Miles stops at the edge of the room, shocked, scared, knowing full well that Horace has stumbled upon the truth. He turns around slowly, offering no confirmation or denial. (CONTINUED)

4. 3 CONTINUED: HORACE (CONT'D) Because if it is, you can really help us out. We study things like that here, paranormal activities, people who are special. Miles shakes his head quickly, taking a few steps more out of the room. MILES I'm sorry, but I don't know what you're talking about. I'm just a regular guy. Nothing special at all. Horace gets up, following Miles out. 4 INT. DHARMA HOME – FRONT DOOR – CONTINUOUS – FLASHBACK Miles opens the front door, but Richard shuts it softly. HORACE Miles, please. If you don't want people knowing, they don't have to know. MILES There's nothing special about me, OK? (A beat, then:) What are you gonna do, make me go in? Horace sighs, letting go and allowing the door to open. HORACE No, of course not. Miles heads out of the house quickly, leaving a defeated Horace behind. And now the flashback WHOOSH takes us back to: (CONTINUED) 4 3


Miles stands in front of RICHARD ALPERT, having just arrived but clearly impatient to leave. RICHARD How did you get here? MILES I was brought here. RICHARD By whom? MILES Fate. Richard leans back, nonplussed by Miles' comment. Fate. to do? RICHARD And what does fate want you

MILES I'm looking for someone.

John Locke.

RICHARD (Re: Coffin) Well, if you want to try and talk to him, his body's over there. Miles looks over at the coffin on the beach, frustrated. MILES No, that can't be it. (A beat, then:) I need someone who looks like him. RICHARD Then you'll want to head west. Miles is initially surprised by Richard's forthcoming answer, but quickly nods in thanks, heading back into the jungle. (CONTINUED)

6. 5 CONTINUED: RICHARD (CONT'D) Hey, waitRichard grabs Miles lightly, turning him around. RICHARD (CONT'D) We just had some trouble with that man, so do you mind me asking what your business is with him? Miles looks back at Richard, clearly thinking quickly, as if he is devising a plan. MILES I was sent here to kill him. This does shock Richard, so much that he lets go of Miles, allowing him to slip away quickly into the night. Richard steps forward to follow, but is interrupted by the call of: CINDY (O.S.) Richard! Richard spins around to find CINDY CHANDLER, Oceanic 815 stewardess, turned captive, turned Other, bending over a man, trying to stop his nose from bleeding. CINDY (CONT'D) We've got four people that aren't breathing! Richard immediately runs back into the camp to help Cindy, allowing Miles to escape back into the jungle. And as we look over the growing devastation of the camp: END OF TEASER 5


No rain falls on the ground, but clouds loom overhead as an old farm truck cuts through the dirt road, moving through the grass to an old farmhouse ahead. 7 INT. MULLEN TRUCK – IMMEDIATELY FOLLOWING 7

KATE AUSTEN, JAMES “SAWYER” FORD, and CLAIRE LITTLETON are crammed into the tight front seat of the car. Claire looks back and forth between Kate and Sawyer nervously. CLAIRE This is so stupid. KATE What is? CLAIRE Following you. You're not some kind of psychos, are you? KATE (Laughing) No, of course not. We're friends. Sawyer looks over at Kate, trying to figure out her plan. CLAIRE I dunno, it's just my horoscope told me I'd find adventure in the next week. (To Kate:) I'm into all that astrology stuff. KATE Yeah. I know. Claire turns to Kate, suddenly suspicious of her intentions. (CONTINUED)

8. 7 CONTINUED: CLAIRE How? Kate pauses, looking at Sawyer, who imperceptibly shakes his head. Kate, however, plows forward. KATE Because we've met before. Claire stares at Kate in shock as the truck reaches the old farmhouse. JUMP CUT TO: 8 INT. MULLEN HOME – KITCHEN – A LITTLE LATER 8 7

Kate and Claire sit at the kitchen table, while Sawyer looks away from then, leaning angrily over the kitchen counter. Claire leans back, having just heard Kate's story of the crash. CLAIRE So, you're telling me that we were on a plane together? KATE We will be on a plane together about a week from now. CLAIRE And you know this because . . . KATE Because it already happened once. We were on an Island, and . . . a lot of things happened. But now something happened that caused us to go back. Well, some of us. CLAIRE And what, you're reliving what's happened already and you thought (CONTINUED)

9. 8 CONTINUED: CLAIRE (CONT'D) you'd just look me up? KATE I'm trying to figure out what it is we're all supposed to do here. CLAIRE Supposed to do? Kate nods, smiling at Claire compassionately, but Claire suddenly stands up, glaring at Kate. CLAIRE (CONT'D) All right, what kind of trick are you trying to pull? KATE What? CLAIRE You're winding me up, aren't you? What, did my friends decide to play a joke on me and get you people to make me think I'm going crazy? KATE No, ClaireBut Claire is already on her way to the door. Sawyer doesn't stop her, but Kate gets up, going after her and stopping her at the door. KATE (CONT'D) You said you felt something here. Something important. CLAIRE Yeah, well, I was wrong. This is just ridiculous and cruel. I'm trying to find my baby a home, I don't need this(CONTINUED) 8

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Claire pushes past Kate, reaching the screen door, but Kate once again stops her. KATE Aaron. Claire turns around slowly, looking at Kate in shock. KATE (CONT'D) That's his name. Aaron. CLAIRE How did you know I was thinking of . . . KATE I know because I helped you deliver him. CLAIRE No, that's not . . . Kate starts to get choked up, but she plows forward, knowing she has to convince Claire of what she's doing. KATE And when you were in labor, you told me that you were afraid he'd know you wanted to give him up. If you kept him, he'd know that, and he wouldn't like you. Claire shakes her head in disbelief, tears coming to her eyes. Kate is nearly brought to tears as well, but keeps going, telling Claire everything she wants to tell her. KATE (CONT'D) But you're meant to be together, and I think I'm here now . . . I think I remember everything because I'm supposed to make that happen. (CONTINUED)

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Kate can't bring herself to continue any more, but trails off, wiping the tears away from her eyes. Claire does the same, closing the door behind her and walking back into the kitchen. Sawyer, however, watches this scene with barely any emotion. And now it starts to become clear – this is not the Sawyer who fell in love with Juliet, who made a respectable life for himself. This is the Sawyer who came to the Island, the loner, the con man, maybe even the killer. 9 EXT. TAWARET STATUE – BEACH EXTERIOR – DAWN 9

Sun starts to rise over the camp as Richard and Cindy hover over the Others, trying to aid them as best they can. CINDY What the hell's happening to them, Richard? RICHARD I don't know, OK? I don'tRichard stops himself, frustrated by his failure at helping his people, at doing anything constructive. He looks back towards the Statue to find ILANA emerging from it, furious. Richard gets up immediately. RICHARD (CONT'D) (To Cindy:) Keep trying to control the bleeding. I'll be right back. Cindy nods reluctantly as Richard jogs up the beach, meeting Ilana at the entrance to the statue. RICHARD (CONT'D) (To Ilana:) Well? ILANA Jacob's dead. (CONTINUED)

12. 9 CONTINUED: Richard steps back in shock, his eyes darting back to the Statue. RICHARD No, that's impossible. be killed. Jacob can't 9

ILANA His body's in there, stabbed then burnt on a pyre. I searched the whole statue, but I couldn't find any sign that he escaped. Ilana looks down at the ground grimly. Richard's expression, if anything, is more hopeless. ILANA (CONT'D) I failed. RICHARD So . . . what do we do now? ILANA We can't wait for further orders anymore. When the sun rises, I'm going to go after Bram and see if I can find whoever did this to him. Richard nods, but then looks back at the camp. RICHARD I think we have some problems here, too. Ilana nods, looking at the growing number of Others lying on the ground, dying or even dead. Her gaze then turns to Frank Lapidus' stretcher. ILANA Have you checked on him lately? (CONTINUED)

13. 9 CONTINUED: RICHARD I've been pretty busy with my own people. Ilana nods, moving past Richard and down to FRANK LAPIDUS, who still lies motionless on the cot. She quickly checks his vitals. ILANA He's still alive. RICHARD You said he was a candidate. what? For 9

ILANA As a failsafe. To give us instructions if something happened to Jacob. Richard nods slowly, looking back towards the statue. His eyes are drawn to the top of the foot, however, to a small opening directly above the pyre. For a split second, it appears as if a WISP OF WHITE SMOKE flutters above the statue. Richard rubs his eyes quickly, looking back to the statue, but the smoke is gone. Suddenly, Frank gasps, opening his eyes and shaking. Richard spins around as Ilana grabs him, steadying him and looking into his eyes. Frank? ILANA (CONT'D) Frank?!

FRANK Sun . . . Sun . . . Richard now leans over Frank as well, concerned. RICHARD She's not here, Frank. (CONTINUED)

14. 9 CONTINUED: FRANK She should be here . . . she needs to be here . . . Frank passes out. Ilana quickly checks his vitals, then turns back to Richard, nodding. ILANA Still alive. RICHARD What did he mean? Ilana shrugs her shoulders, clueless. Richard sits back against the sand, trying to find meaning in Frank's words as Cindy hurries amongst the Others, trying to save as many as she can. 10 EXT. JUNGLE – UNDERBRUSH – DAWN Miles tromps through the jungle, exhausted, but clearly determined to reach a certain point. As he passes by a tree, leaning on it for support, the WHOOSH takes us to: 11 INT. DHARMA HEADQUARTERS – LOBBY – DAY – FLASHBACK 11 10 9

Miles walks into a simple room decorated with similar décor to Horace's home, although it seems a little empty, as if things have been removed lately. Miles himself looks a little younger than he did on the Island, but not as young as his teenage years - no rings or spiked-up hair. Miles walks forward to a reception desk which features the Dharma symbol on its front. A pleasant young RECEPTIONIST sits behind, smiling in welcome to Miles. RECEPTIONIST Namaste, and welcome to Dharma. Miles nods brusquely, taking out a card. (CONTINUED)

15. 11 CONTINUED: MILES Hi, I've got an appointment. The receptionist takes a card, reading it then nodding quickly to Miles. RECEPTIONIST Of course. She stands up, waving Miles towards the door on the left. 12 INT. DHARMA HEADQUARTERS – EXAM ROOM – LATER – FLASHBACK 12 Miles sits in the chair next to the exam table, rattling his fingers on the armrest. A moment later, a MAN walks in, with a thick graying beard and glasses, dressed in a simple lab coat with a generic Dharma patch. He closes the door and shakes Miles' hand. Hi, Miles. GERALD I'm Dr. Gerald DeGroot. 11

Miles shakes Gerald's hand. Gerald walks over to the exam table, taking a seat and opening a small file. GERALD (CONT'D) So . . . why did you come here to see us? MILES I, uh, I think you guys can help me. You study . . . paranormal activity, all that? GERALD That's right, yes. Parapsychology is one of our flagship departments. Miles pauses, sighing as he reveals his secret to Gerald. MILES I have this . . . ability. (CONTINUED)

16. 12 CONTINUED: Gerald nods, nonplussed. nods for Miles to go on. 12 He makes a note on his form, then

MILES (CONT'D) Yeah, well, I think it has something to do with dead people. (A beat, then:) I can hear them. Gerald now raises an eyebrow, looking away from his file and over to Miles. Gerald nods, closing the file and getting up. GERALD Well, Miles, that's very interesting. I think you should stay here for the next couple of days for observation. (A beat, then:) You know, this really may be the next step in our research. Miles gets up, shaking his head and stepping towards Gerald. MILES No. I don't want to be a step in your research. I just want you guys to figure out where this . . . where it came from. And I want you to figure out how to get rid of it. Gerald looks at Miles, unsure of what to say. And from this, the WHOOSH starts up, bringing us back to: 13 EXT. JUNGLE – CLEARING – DAWN Miles reaches a clearing, stepping out and waiting impatiently. MILES Hello? (CONTINUED) 13

17. 13 CONTINUED: After a moment, a faint hissing is heard, followed by mechanical clicking and rattling . . . THE MONSTER. Miles looks around, slightly afraid, but stands his ground, waiting for something to appear, until CHRISTIAN (O.S.) You're late. Miles turns around, facing the apparition of CHRISTIAN SHEPHARD. MILES I was at Alpert's camp. CHRISTIAN What'd you tell them? MILES I just made up a story to get out. And now we know that Miles lied, that he does not mean to kill Flocke at all. CHRISTIAN Good. (A beat, then:) They've turned north. Head that way and you'll find them. MILES What do I do when I find them? Christian's apparition nods to the ground in front of Miles, drawing Miles gaze downward. And as Miles' eyes reach the ground, he finds only one thing A LOADED GUN. END OF ACT ONE 13

18. ACT TWO 14 EXT. JUNGLE – DESMOND'S CAMP – AFTERNOON DESMOND HUME drags an unconscious FLOCKE into his camp, throwing him against a tree trunk and heading to fetch a few ROPES. JUMP CUT TO: Desmond tying up Flocke to the tree, tightening the ropes around his hands. JUMP CUT TO: Desmond moving back through his camp, past his thatch bed, a few empty bottles of scotch, and his copy of Our Mutual Friend, reaching a tree in the back. A BUCKET made from reeds sits against the tree, filled halfway with water. Desmond picks up the bucket, turning back to Flocke. JUMP CUT TO: Desmond throws the water onto Flocke's face, immediately reviving him. Flocke coughs heavily, then looks up at Desmond, nodding quietly. FLOCKE Hello again. DESMOND Who are you? FLOCKE Same as you, I'm sure. Some poor explorer who crashed here. Desmond bends down, regarding Flocke with a calculating stare. DESMOND I find that hard to believe, brother. (CONTINUED) 14

19. 14 CONTINUED: DESMOND (CONT'D) See, I've been on this Island for six years. I've seen plenty of things that I can barely believe. Once in a while I even think I see another person. But I've never seen you. Desmond looks down at Flocke's belt to see the knife. pulls it out quickly, examining it. DESMOND (CONT'D) Where'd you get it? FLOCKE (Lying) Brought it. The name's Locke, by the way. John Locke. (A beat, then:) You mind playing a little quid pro quo? DESMOND I don't think you're in the position to be bargaining with me. FLOCKE It's good conversation. And although Flocke means it know, is a person who cannot suicide when he was confined of company, of conversation, as a joke, Desmond, as we well be alone, who thought of to the Hatch. So the thought entices him. He 14

DESMOND What do you want to know? FLOCKE How did you come to be on this Island? (CONTINUED)

20. 14 CONTINUED: DESMOND I was on a sailing race around the world when my navigation systems went haywire. Crashed the boat, it's beyond repair now. Anyway, I woke up on the beach, found a home in the jungle. Ever since then I've been trying to find a way out. (A beat, then:) What are you doing here? FLOCKE I'm on a mission. A mission? DESMOND What are you, a priest? 14

Flocke laughs to himself, but Desmond's eyes remain sharp. FLOCKE No, I'm . . . I'm something else. Desmond looks at Flocke for another moment, then kneels down in front of him, plunging his knife into the dirt next to him, well within reach. DESMOND I'd like to know what you are, then. Flocke pauses, unsure of what to tell Desmond. 15 INT. HOTEL ROOM – BATHROOM – EVENING 15

A stream of water falls into a sink, filling it to the brim until a hand turns it off. And we PAN OUT to see HUGO “HURLEY” REYES, standing in front of a mirror, splashing cold water on his face. HURLEY Nothing else is gonna happen. (CONTINUED)

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With another splash, Hurley looks back in the mirror, slowly breathing in and out. HURLEY (CONT'D) You're gonna get back home, and everything will be fine. Hurley pulls out the plug, draining the water from the sink. As he dries off his face with a towel, there is a knock at the door. Hurley heads out of the room, moving into the: 16 INT. HOTEL ROOM – BEDROOM – CONTINUOUS 16

Hurley strolls over to the door, opening it up lazily, only to jump back in shock at JOHN LOCKE. Smiling warmly at Hurley. And now, there's no wheelchair; Locke is simply standing still at the door. LOCKE Hello, Hugo. HURLEY This isn't happening. LOCKE Mind if I come in? HURLEY Wh . . . you know who I am now? LOCKE Of course I do. (A beat, then:) Would you let me in? I won't bite. HURLEY Uh . . . no, thanks. Hurley shuts the door quickly, turning around, shutting his eyes, and clasps his hands to his ears. (CONTINUED)

22. 16 CONTINUED: HURLEY (CONT'D) It's not real . . . it's not real. It's not real. Hurley opens his eyes, waiting for a moment. However, upon hearing and seeing nothing else, he smiles, heading back to his bed. But just as he gets ready to flop on the mattressanother knock. LOCKE (O.S.) It's pretty musty out here. Hurley closes his eyes, resigning himself to talking to Locke. JUMP CUT TO: Hurley pulls some peanuts out of the fridge, popping them open as he sits back down across from Locke. HURLEY You want anything? LOCKE No, thank you. Hurley nods, popping a few peanuts in while keeping his eyes on Locke. HURLEY So, you're dead now? LOCKE Afraid so. HURLEY So, why are you here? LOCKE I wanted to talk to you. I've got something to tell you. (CONTINUED) 16

23. 16 CONTINUED: HURLEY I have to go back to the Island, don't I? Locke nods, but Hurley shakes his head, getting back up. HURLEY (CONT'D) Why? I don't get it. Me and Jack and everyone else, we got it so we could go back. And it worked. (A beat, then:) Why can't things just go back to the way they were? LOCKE Because they can't. You can try and do whatever you can, but you won't be allowed to go back to your own life. (A beat, then:) Those are just the cards you're dealt. HURLEY Lucky me. Locke gets up, walking around Hurley and looking him straight in the eye. LOCKE You thought winning the lottery was bad luck, didn't you? You thought talking to dead people was bad luck. HURLEY What's saying it's not? LOCKE You're the one who said it was a gift. (CONTINUED) 16

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Locke's words clearly make an impression on Hurley. So now Locke leaves Hurley, going over to the bedside table and making a note on the stationary. LOCKE (CONT'D) I believe that our destiny is always what's best for us. If you do, too, you can go to this address and find out more. Locke finishes writing out the address, heading out of the room. As he opens the door, he turns back, nodding to Hurley. LOCKE (CONT'D) Good seeing you, Hugo. And, without another word, Locke heads out of the room, shutting the door behind him and leaving Hurley alone. 17 EXT. MULLEN HOME – FRONT DOOR – NIGHT 17

Sawyer stands under the porch light, smoking and thinking to himself. After a moment, the door opens, and RAY MULLEN walks out of the house, noticing Sawyer. He walks around him, standing next to him and taking out a cigarette of his own. RAY Got a light? Sawyer obliges, offering Ray his lighter. RAY (CONT'D) I was starting to wonder if Annie had any friends down here. SAWYER Her name's Kate, Dundee. Ray lights up.


25. 17 CONTINUED: RAY (Sarcastic) Sure it is. Ray offers up his prosthetic hand to shake Sawyer's. a moment, Sawyer reluctantly shakes it. RAY (CONT'D) Ray Mullen. SAWYER Sawyer. (A beat, then:) How do you know her? RAY She showed up in my barn a couple weeks back, and she's been helping out ever since. How about you? SAWYER None of your business. RAY Not one for conversation. Sawyer finishes his cigarette, tossing it to the ground. SAWYER Not with you. He stomps it out, heading back to the porch. seem offended, but looks over at Sawyer. RAY Word of advice, friend. (Off Sawyer's look:) Life's too short to make people think you're some kind of brute. SAWYER You want a penny for that, Ray? (CONTINUED) Ray doesn't After 17

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Sawyer opens the door, but is interrupted by the sound of a car pulling up to the house. He turns around to find a nice rental car pulling up to the front door. Sawyer regards the car suspiciously as the car door swings open. And, sure enough, out steps JACK SHEPHARD. Dressed in his best suit. Holding something in his hand. He steps forward, stopping short when he sees Sawyer. JACK Sawyer. SAWYER Well, if it isn't Doc Brown himself. (A beat, then:) Why are you here? JACK I came to talk to Kate. Ray looks over, realizing Kate has been lying to him. steps forward, heading into the house. END OF ACT TWO Jack

27. ACT THREE 18 INT. MULLEN HOME – KITCHEN – NIGHT Kate and Claire sit at the table, sipping coffee, when Jack enters the room, Sawyer at his heels. Kate rises in surprise upon Jack's entrance. KATE Jack . . . Jack looks at Kate, then over in Claire. His eyes widen in shock, and he pockets whatever was in his hand. As the mysterious object falls into Jack's pocket, we see a flash of diamond. JACK What's going on here? Claire looks around at Jack, confused. shifts guiltily. Kate, however,

KATE I was just talking to Claire here about the crash. Jack looks over in Claire at shock, then at Kate angrily. JACK What? KATE I'm just trying to figure out what I have to do nowJACK There's nothing to do, Kate! Claire rises, standing defensively next to Jack. CLAIRE I'm sorry, but who are you? (CONTINUED)

28. 18 CONTINUED: JACK Uh . . . Jack. Claire offers her hand to Jack. Hi, Jack. Jack turns to Kate. JACK Can I talk to you for a second? Kate nods reluctantly, leading him out of the house. 19 EXT. MULLEN HOME – FRONT YARD – A SHORT WHILE LATER Kate and Jack stand under a tree trunk, discussing what's going on. JACK You want her to keep Aaron, so you're just gonna tell her everything? KATE Hey, I'm doing the best I can. all still in shock. Jack leans in aggressively towards Kate. JACK Do you know what could happen if you told the wrong person something? If things changed? KATE You just dropped a hydrogen bomb into the Hatch. I wouldn't talk about changing things. (A beat, then:) The only reason I went along with your plan is so Aaron could have (CONTINUED) We're 19 CLAIRE I'm Claire. He takes it awkwardly. 18

28. 19 CONTINUED: KATE (CONT'D) his mother. I believe I have to do this to make it happen. JACK You don't want to take any responsibility for what you're doing? Then I will. Jack then walks off, striding back towards the home. Jack! KATE (CONT'D) Jack! 19

Kate sets off after Jack. 20 INT. MULLEN HOME – KITCHEN – SIMULTANEOUSLY Claire and Sawyer sit together at the table. across at Sawyer. CLAIRE I like your jacket. And even though Sawyer has changed back to his old, surly self, he cannot help but carry a soft spot for Claire. SAWYER Thanks. Suddenly, Jack storms back into the house, walking over towards Claire. JACK I'm sorry to be the one to tell you this, Claire, but there's something you have to know. CLAIRE What's going on? Kate runs into the house, trying to stop Jack. (CONTINUED) 20 Claire smiles

30. 20 CONTINUED: KATE Jack, don'tJACK (To Claire:) The woman you've been talking to you? Kate? She's a felon. She's wanted in the United States for murdering her stepfather. (Re: Sawyer) And him? He's a professional con man. Swindles people into getting their money. (A beat, then:) They're using you, Claire. All they want is to get some fast cash off of you, and then they'll leave. Claire looks at Kate in shock. CLAIRE Is this true? KATE No! Claire, all I want is to help you and your baby. CLAIRE But are you really a criminal? Kate sighs dejectedly, nodding slowly. Sawyer. CLAIRE (CONT'D) And you? Sawyer says nothing, silently confirming what Jack said. Claire looks at them angrily, then strides out of the house. JACK I'll take her back home. (CONTINUED) Claire now turns to 20

31. 20 CONTINUED: Jack heads for the door, stopping as he opens it. JACK (CONT'D) I'm sorry I had to do this. Kate faces Jack angrily. KATE Whose side are you on? Jack says nothing, but simply exits the house, leaving Kate and Sawyer alone. Kate turns to Sawyer. KATE (CONT'D) What do we do now? SAWYER What makes you think I care? Kate glares at Sawyer, then gets up, fetching herself a shot of liquor. 21 EXT. JUNGLE – PATHWAY – AFTERNOON 21 20

Miles tramps through through the jungle, heading northward. Suddenly, he sees a beach through the trees, picking up his pace immediately. As he hurries forward, the WHOOSH carries us to: 22 INT. DHARMA HEADQUARTERS – DORMITORY – DAY - FLASHBACK 22

Miles' dormitory at the Dharma Initiative. No personal belongings are present, no paintings hang on the walls. Just a simple bed, closet and desk. Miles lies on the bed, staring up at the ceiling. There is a knock at the door. Miles gets up, answering it to find Gerald DeGroot, still carrying a file and looking brusque. GERALD Good morning, Miles. You have a visitor. (CONTINUED)

32. 22 CONTINUED: MILES Who is it? GERALD A benefactor of ours. He's very eager to meet with you. MILES Do I have a choice? Gerald smiles wryly, stepping aside to allow CHARLES WIDMORE into the room. Hello, Miles. WIDMORE I'm Charles. 22

MILES Well, come on in. Miles and Widmore head into the room as DeGroot slips out, shutting the door behind him. Miles offers Widmore a seat on the desk while he sits back down on the bed. WIDMORE I was talking with Mr. DeGroot about your abilities. The Initiative has only one other documented case of contact with the dead, you know. Yeah? MILES When was that?

WIDMORE It was in 1974 at a field office. It wouldn't interest you. (A beat, then:) I'm sure the Initiative's findings would. MILES They know something? (CONTINUED)

33. 22 CONTINUED: WIDMORE They believe it's something genetic. But to a large extent, it seems unexplainable. MILES So, they don't know how to destroy it? Widmore arches back in surprise. WIDMORE Now why would you want to do that? Miles laughs mirthlessly, but Charles' expression doesn't change. MILES Are you serious? WIDMORE Of course. It's a gift, one that can be used. MILES Used for what? Widmore pulls a card out of his blazer, offering it to Miles. He takes it cautiously. WIDMORE I'm afraid I'm a bit more than a benefactor, actually. I'm . . . well, let's just say I could use someone like you. Miles doesn't seem convinced, so Widmore presses forward, leaning in and speaking in a hushed tone, forcing Miles to lean in as well. WIDMORE (CONT'D) You can make a choice here, Miles. (CONTINUED) 22

34. 22 CONTINUED: WIDMORE (CONT'D) You can choose to be a leader. A part of something truly extraordinary. Miles looks down at the card, then up at Widmore, tearing the card in half. MILES No way. Widmore sighs and gets up to the door, defeated. WIDMORE Or I suppose you can just resign yourself to be a servant of chance. MILES You're not gonna convince me. Widmore nods, heading out of the room. down, the WHOOSH leads us back to: 23 EXT. NORTH BEACH – AFTERNOON As Miles lies back 23 22

Miles emerges onto the beach to find a camp of THE OTHERS left in complete disarray. People run about, panicking over several people lying on the ground, noses bleeding, shaking, even dying. Miles surveys the scene before stepping forward and announcing his presence to the camp. MILES Hey! The Others spin around, staring at Miles in shock. MILES (CONT'D) I'm looking for your leader. Miles is answered by BRAM, who emerges from the jungle, wiping sweat off his brow and looking furious. (CONTINUED)

35. 23 CONTINUED: BRAM That's me. Miles looks over at Bram, surprised. After all, Bram was the man who kidnapped him in “Some Like it Hoth”. But he buries his shock, instead keeping to the task at hand. MILES I thought you were being led by John Locke. BRAM He's gone now. MILES You know where I could find him? Bram's eyes now widen slightly, suddenly remembering Miles as well. But he doesn't mention it, either, instead walking forward to Miles and speaking to him quietly. BRAM Maybe. Why? MILES Because I'm looking to kill him. BRAM (Smiling) What do you know? That makes two of us. (A beat, then:) Just let me check on everyone and get a few supplies. Then I'll help you find him. Miles nods, allowing Bram to head back into the camp. After he leaves, Miles looks down his leg, down to his boot. The pistol is hidden in the boot. END OF ACT THREE 23

36. ACT FOUR 24 EXT. JUNGLE – UNDERBRUSH – AFTERNOON Miles and Bram trek through the jungle, a rifle in Bram's hand. Suddenly, Bram stops short, holding up a hand that stops Miles as well. MILES What is it? BRAM I hear something. I think we're close. Miles nods, and the two step forward softly. As they creep towards Desmond's camp, the WHOOSH starts up, taking us to: 25 INT. DHARMA HEADQUARTERS – EXAM ROOM – DAY – FLASHBACK 25 24

Miles sits impatiently in the exam room, his eyes on the door. After a moment, it opens, and Miles' brow knits in confusion to find ANNIE, Ben's Annie, coming into the room with Miles' file. ANNIE Hey, there. MILES Where's DeGroot? ANNIE They sent me in today. Annie Adams. MILES What are you, a shrink? Sort of. ANNIE I talk to people. I'm Dr.

Annie takes a seat in the chair, sliding over to Miles and opening the files. (CONTINUED)

37. 25 CONTINUED: ANNIE (CONT'D) You're probably pretty sick of seeing this file, huh? Miles can't deny the truth of Annie's statement, or the pleasantness of her bedside manner, so he nods, letting up a bit. ANNIE (CONT'D) Well, after today, you won't be seeing it again. MILES What? ANNIE After conducting every test we know how to take, the Dharma Initiative has determined that your powers are unexplainable. Annie tosses Miles' file in the trash can, but he's not satisfied. MILES So, you're telling me that after three weeks, that's it? There's nothing more you can do? ANNIE Well, you got three weeks room and board for free. Chalk that up as a success. Miles gets up, heading out the door. MILES Yeah, sure. Miles reaches the edge of the room, but Annie stops him, not even rising from her chair. (CONTINUED) 25

38. 25 CONTINUED: ANNIE About three years ago I lost my son. And for months after that, I was totally lost. Just trying to figure out what to do next, why everything happened the way it did. (A beat, then:) But then I realized . . . maybe some things aren't supposed to be explained. We just have to accept that things happen for a reason and move on. So that's what I chose to do. (A beat, then:) You could do the same. Miles pauses at the door, thinking about what Annie said, but then leaves the room without saying another word to her. 26 INT. DHARMA HEADQUARTERS – LOBBY – LATER – FLASHBACK Miles walks through the reception area, passing by the receptionist silently on his way out. Just before he reaches the door, he bumps into someone, knocking him sideways. Miles turns around to apologize to find JACOB'S NEMESIS. THE MAN IN BLACK. Who has just, through no choice of Miles' own, bumped into him. Touched him. MILES Sorry. NEMESIS Don't worry about it. Miles nods, heading out. 27 And now the WHOOSH again, then: 27 26 25


Miles and Bram peek through the bushes to find Flocke tied to a tree, Desmond sitting right in front of him. (CONTINUED)

39. 27 CONTINUED: DESMOND (To Flocke:) I'm not going to ask you again: who are you? BRAM (Softly, to Miles:) I've got a clear shot. Bram raises his rifle, pointing it right at Desmond. Suddenly, Miles steps on a twig, causing it to snap. JUMP CUT TO: Desmond spins around, moving quickly as his eyes dart to the bushes. Before he can even see Bram, however, the BULLET from the rifle PIERCES HIS SHOULDER. Desmond falls back, sliding against the ground as he backs behind the tree. Another BULLET quickly flies out of Bram's rifle, hitting the ground next to Desmond's leg and sending dirt flying around him. Desmond now moves quickly, scrambling up and diving for his own rifle as two more SHOTS ring out in quick succession. Breathing heavily in pain, his hand on his shoulder, Desmond grabs his rifle, FIRING a couple shots into the bushes before running off into the jungle, stumbling from the shot through his shoulder. Silence now fills the clearing as Flocke sits alone, breathing softly against the tree, remaining calm even now. Bram and Miles emerge from the bushes, heading straight for Flocke. Bram immediately raises his rifle, pointing it straight at Flocke. BRAM Don't try anything, or I'll put one right between your eyes. (CONTINUED) 27

40. 27 CONTINUED: FLOCKE I'm sure you would. Bram nods to Miles, ushering him into the camp. BRAM Keep an eye out for the Scottish guy and untie him. I need to take him back to my camp so we can get some answers out of him. Miles nods, heading over to Flocke. He goes behind the tree, trying to untie the ropes. We can't see what he's doing, but a moment later, he emerges from behind the tree, shaking his head towards Bram. MILES Ropes are tight. I need to find a knife. Bram nods as Miles walks behind him, heading into the main area of Desmond's camp. And, left alone, Bram's eyes wander downward, finding . . . FLOCKE'S KNIFE. Still resting in the ground right in front of the tree. Bram regards the knife suspiciously. BRAM (Over his shoulder) Hey, there's a knife right . . . The click of a safety is heard as Miles returns, his PISTOL pointed directly at the back of Bram's head. MILES Drop the rifle. Now. Bram closes his eyes, sighing in defeat at Miles' betrayal, moving the rifle away from Flocke and slowly setting it down on the ground. Miles keeps his gun level at Bram's head, raising his other hand to reveal some more ROPE. (CONTINUED) 27

41. 28 EXT. TAWARET STATUE – BEACH EXTERIOR – MORNING Richard examines some of the fallen Others, Cindy at his side. CINDY Death toll keeps rising. gotta do something. RICHARD I'm working on it. ILANA (O.S.) Richard! Richard looks up to see Ilana standing over Frank, who is once again shaking. And immediately, Richard RACES down the beach, heart pounding, stopping in front of Frank as he starts gasping out words. FRANK It's wrong . . . it's all wrong! RICHARD (To Ilana:) What happened? ILANA I don't know, he just startedFRANK The Island . . . it's changing. Richard bends down, trying to communicate with Frank. RICHARD Frank, what are you talking about? Why is it changing? FRANK Time's gone . . . they have to come soon . . . they have to fix it! (CONTINUED) We've 28

42. 28 CONTINUED: Frank's hand grabs Richard's arm as he gasps in pain. FRANK (CONT'D) They have to go back! And now, Frank collapses against the sand. checks his vitals, her head falling. ILANA He's gone. Richard bows his head in mourning, but even as he does, the wheels are turning, trying to decipher Frank's final words. Suddenly, he realizes something and slowly gets up. RICHARD I know what we have to do. (Off Ilana's look:) He said time's gone . . . it's changing. Richard goes over things once more in his mind, then turns to Ilana, smiling slightly. RICHARD (CONT'D) We have to go to the Orchid. Ilana stares at Richard in shock for a moment. ILANA And what is the Orchid? RICHARD I'll explain on the way. Richard smiles once more, heading back into camp to get everyone else ready. END OF ACT FOUR Ilana quickly 28


Sawyer stands on the front porch, smoking once more and thinking about what's just happened. After a moment, he tosses his cigarette on the ground, stomping it out angrily. SAWYER Dammit, Jack. He does not go back inside. 29 INT. MULLEN HOME – KITCHEN – SIMULTANEOUSLY Kate and Ray sit across one another, discussing something serious. RAY I'm sorry, but you can't stay here anymore. (Off Kate's look:) You lied to me. You can sleep here one more night, then I'll give you some money and a ride to the station in the morning. (A beat, then:) I'm sorry. Kate nods, getting up and heading out of the house. door, she stops and turns around. KATE Thanks for everything, Ray. Ray nods, and Kate heads out. 30 EXT. MULLEN HOME – FRONT DOOR – CONTINUOUS Kate walks around Sawyer, defeated. KATE We'll need a new place to stay. (CONTINUOUS) 30 At the 29

44. 30 CONTINUED: SAWYER We'll find something. The two are suddenly drawn to the sound of yet another car approaching the house, followed by the headlights of a car coming up the hill. SAWYER (CONT'D) Who the hell is it now? The car pulls up to the house, and Kate and Sawyer walk forward to see who it is. The car door opens, and out stepsKATE Hurley? Hurley shuts the door behind him, smiling at Kate and Sawyer. HURLEY You guys made it! SAWYER What are you doing here? HURLEY (Suddenly serious) I came to tell you something. Kate and Sawyer look at each other, confused, but Hurley sighs, resigned to relaying Locke's message. 31 EXT. JUNGLE – DESMOND'S CAMP – LATE AFTERNOON Miles finishes tying up Bram, securing the ropes tightly. BRAM You're making a big mistake, Miles. You remember what I told you about the wrong team? (CONTINUED) 31 30

45. 31 CONTINUED: Bram looks over at Flocke murderously. BRAM (CONT'D) He's their captain. MILES Yeah, I'll keep that in mind. Miles finishes his work, heading back over to Flocke. FLOCKE Thank you, Miles. I'm afraid I have one more favor to ask. Miles looks at Flocke, his heart sinking, knowing what he will be asked to do. Faint alarms now accompany the WHOOSH as we are carried to: 32 EXT. SWAN CONSTRUCTION SITE – DAY – FLASHBACK 32 31

From “The Incident”, Miles is with his father, PIERRE CHANG, pulling him away from the equipment that wounded his arm. MILES Get away from here! Get as far away from here as you can! Pierre nods, and he and Miles take off. 33 EXT. JUNGLE – PATHWAY – A LITTLE LATER – FLASHBACK 33

Miles runs through the jungle, trying to get away from the Swan site, but he suddenly realizes that he is alone. He looks around, trying to find someone. MILES Dad?! Dad! Suddenly, Miles is blinded by the WHITE FLASH, and we know that Jughead has clearly just been detonated. And as a new image now becomes clear, we FADE IN to: (CONTINUED)


Miles opens his eyes to find himself in the exact same spot, but now in the middle of the night. MILES Hello? He is answered by Flocke, who steps out from the bushes, nodding gravely to Miles. FLOCKE Hello, Miles. MILES Locke? FLOCKE No. I'm the one who brought you here. And now you have work to do. MILES What are you talking about? FLOCKE Jughead just went off in an explosion that should have killed you. But because of me, you were brought here instead. MILES Well, thanks, but what do I do now? FLOCKE I'm gonna tell you what to do. Miles nods reluctantly, at this point ready to believe anything. FLOCKE (CONT'D) You're going to head east until you hit a statue. You're going to see what's happening there, then head (CONTINUED)

47. 34 CONTINUED: FLOCKE (CONT'D) back west and report to me. MILES Why should I? FLOCKE Because you have to. (Off Miles' look:) Miles, what's happening now is out of your control. MILES Sure it is. Miles heads off into the jungle. is, but keeps talking. Your powers. be gone. Flocke remains where he 34

FLOCKE If you help me, they'll

Miles turns around slowly, intrigued by Flock's offer. FLOCKE (CONT'D) I can get you off this Island, get rid of your abilities . . . make you just as normal as the next guy. MILES You can really do that? FLOCKE I brought you here, didn't I? Miles considers Flocke's offer for a moment, then nods, heading back into the clearing. Flocke smiles, then turns around heading out. FLOCKE (CONT'D) You know where to find me. (CONTINUED)

48. 34 CONTINUED: MILES Sure thing . . . Miles, like Ben in the last episode, is looking for Flocke's real name. Flocke turns back around, ready to oblige Miles' request. Jonah. FLOCKE My name's Jonah. 34

And off this, we WHOOSH back to: 35 EXT. JUNGLE – DESMOND'D CAMP – LATE AFTERNOON The sun is setting behind the trees as we pick up right where we left off with: FLOCKE I need you to kill Bram. Miles nods, reluctantly taking the pistol out from his boot and turning towards Bram. Bram looks back at Miles with an outward calm that barely masks an inner terror. BRAM Miles, you have a choice here. MILES No, I don't. You don't understand, I have to do this. (Off Bram's look:) He's going to take me off the Island. He's going to get rid of whatever I don't like. I won't hear them anymore. BRAM That power's a gift. You can accept it and use it for the greater good. Miles steps forward, countless emotions running over his face as he turns the safety off. (CONTINUED) 35

49. 35 CONTINUED: BRAM (CONT'D) That's what makes us human, Miles. Being able to know what's happening. To make choice for ourselves. Miles shakes his head, trying not to listen to Bram's words. MILES I have to do this. BRAM You don't. (A beat, then:) Miles, please. And now we're CLOSE ON Miles behind the trigger, really thinking about what he's about to do, questioning whether or not he can kill someone and what will happen if he does. Countless choices happening all at once. But as Miles breathes in, and out, he has made only one. The choice to not make any more choices to get what he wants. To surrender to Jonah. MILES I'm sorry, but ignorance is bliss. BLAM. Bram slumps against the tree, the bullet straight through his heart, dead. And now back on Miles' face, nearly in tears over what he's just done. And now he hears it – Bram's final thought, faint but still clear. BRAM (V.O.) He's going to do it . . . he's a murderer. And Miles sighs deeply, realizing he's now made a choice he can never unmake. And off this realization: CUT TO BLACK: END OF EPISODE 35

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