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					Episode #: 604

L O S T
“The Equation”

LOST “The Equation” #604 TEASER 1 INT. SUN AND JIN'S APARTMENT – LIVING ROOM – MORNING 1

SUN KWON sits on her couch, watching the news on television. The television is muted, and Sun's eyes drift in and out of focus. She idly scratches the ears of her pet Shar Pei. Behind her, JIN KWON mechanically dusts off the paintings on the mantle, constantly keeping his eyes on his wife. After a moment, he walks over to her, standing next to the couch, but not sitting down. JIN (Subtitled) Do you want something to eat? SUN (Subtitled) No. JIN (Subtitled) Something to drink? SUN (Subtitled) No. JIN (Subtitled) Do you want anything? SUN (Subtitled) No, Jin. Sun's voice seems to come from a great distance. up on this, and dutifully backs away. Jin picks (CONTINUED)

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Jin is suddenly torn away from the room by the soft ring of the doorbell. He leaves the living room, heading straight for: 2 INT. SUN AND JIN'S APARTMENT – FRONT DOOR – CONTINUOUS Jin walks up to the front door, answering it to reveal ELOISE HAWKING standing on the other side. HAWKING Hello, Jin. JIN I'm sorry, do we know each other? HAWKING Yes, of course. I'm Eloise Hawking. Jin's eyes widen in surprise, remembering the Eloise Hawking who led the Others in 1977, back on the Island. JIN What are you doing here? HAWKING If I may, I'd like to speak with your wife. Jin studies Hawking for a moment, then nods curtly, letting her into their home. And as Hawking walks in, the flashback WHOOSH starts up, and we're flashed to: 3 INT. OTHERS' CAMP – ELOISE'S TENT – DAY – FLASHBACK 3 2

Eloise Hawking lies unconscious on her bed. But this is not the Eloise Hawking who Jin just spoke to. This is a younger Eloise Hawking, who killed her own son and led Jack and Sayid to Jughead. Eloise stirs, awakening to an empty tent. Not for long, though, as RICHARD ALPERT enters, smiling bracingly when he sees that Eloise is awake. (CONTINUED)

3. 3 CONTINUED: You're up. RICHARD How are you feeling? 3

He walks over to Eloise, checking her head for bruising. ELOISE A little woozy, but I'll be fine. (A beat, then:) Why did you hit me, Richard? RICHARD It was a dangerous situation and I had to protect you. ELOISE What happened? RICHARD Something bad. We're looking into it. I would've found out more, but Jacob summoned me. Eloise now sits up, looking at Richard nervously. ELOISE What did he have to say? RICHARD He knew that you helped outsiders, Eloise. (A beat, then:) I'm sorry, but you broke the rules. ELOISE So, what's going to happen to me? Richard pauses, sighing heavily before revealing Jacob's judgment. RICHARD You have to leave the Island. (CONTINUED)

4. 3 CONTINUED: 3

And while Eloise is not surprised by her fate, she hangs her head in sadness nonetheless. ELOISE When? RICHARD I'm taking you there now. Eloise nods, getting up and starting to pack up her things. 4 EXT. OUTRIGGER BEACH – A WHILE LATER – FLASHBACK Eloise and Richard emerge from the jungle, heading for two outrigger canoes lying on the beach. Eloise regards them without expression. Richard hands her a compass. RICHARD Just follow a bearing of 325 for a few hours, and you'll hit land. Eloise takes the compass, smiling falsely at Richard. ELOISE Thank you, Richard. (A beat, then:) Does Charles know? RICHARD He thinks it's best for you and the baby. He's going to be the new leader, but he said he'll try and visit you soon. ELOISE I'm sure. Eloise heads out, throwing her things into the canoe and pushing it into the water. Just as she's about to jump in, she turns back to Richard. (CONTINUED) 4

5. 4 CONTINUED: ELOISE (CONT'D) Goodbye, Richard. RICHARD Goodbye, Eloise. You were one of my favorites. (A beat, then:) I'm sorry about this. ELOISE You just have to believe that things happen for a reason. Eloise jumps into the outrigger, paddling away from the shore. Richard watches her go away sadly, then heads back into the jungle. And off Eloise's boat moving further and further away from the shore, the WHOOSH leads us into: 5 INT. SUN AND JIN'S APARTMENT – LIVING ROOM – MORNING 5 4

Jin leads Hawking into the room, interrupting Sun's reverie. Sun turns around, getting up quickly and staring at Eloise in shock. SUN (To Jin:) Why did you bring her in here? HAWKING I just want to talk. To help you. JIN Sun, please. Sun nods reluctantly, offering Hawking a seat in the room. Jin sits down next to Sun, taking the dog and petting it. HAWKING I wanted to talk to you about returning to the Island. (CONTINUED)

6. 5 CONTINUED: SUN Again? HAWKING In a way. I need you to get back on Flight 815. JIN Why would we ever do that? But Sun is now looking at Hawking, trying to think of what would happen if she crashed on the Island again. And Hawking knows this, ignoring Jin and looking at Sun sympathetically. HAWKING Your daughter. If you make the choice to change things and go back, you will have her again, I promise you. SUN Would it even work? Hawking pauses, choosing her next words carefully. HAWKING You know that Daniel Faraday was my son. What you don't know is that I had to make a choice to send him back to the Island when I knew that going back might kill him. SUN Why did you do it? HAWKING I didn't. I gave him the information that I believed was necessary so that he could change things. So that he could live. (CONTINUED) 5

7. 5 CONTINUED: JIN But it didn't work. Hawking looks back at Jin, shrugging her shoulders, knowing she's already made her point to Sun. HAWKING We don't know if any of our plans will work. But we have to try. (To Sun:) Will you at least consider it? Sun looks over at Jin, fishing for a response, clearly swayed by Hawking's words. Jin simply shrugs, communicating that he will support Sun's decision, whatever it is. Sun looks back at Hawking, quickly making up her mind. SUN If we go, is there a chance that things will change? That the three of us will be together? (Hawking nods, so:) Then we'll think about it. Hawking smiles, getting up and taking a card from her jacket pocket. She gives it to Sun. HAWKING This is where I can be reached for the next 24 hours. When you make a decision, I'll tell you what must be done. Sun takes the card gratefully, placing it in her own pocket. Jin rises, showing Hawking the way to the door. She obliges, and the two head out of the room. 6 INT. SUN AND JIN'S APARTMENT – FRONT DOOR – CONTINUOUS Jin leads Hawking to the front door. (CONTINUED) 6 5

8. 6 CONTINUED: JIN Why do you want us to go back so badly? Hawking turns around, grimacing. HAWKING The natural flow of time has been broken and must be repaired. (Off Jin's look:) You see, time is a complete equation just like any other mathematical function. And when that bomb went off, the equation became unbalanced. And now, it must be fixed. JIN Sun and I going on that plane again . . . that will fix it? HAWKING Yes, Jin, it will. Hawking smiles faintly, heading out of the apartment and shutting the door behind her. END OF TEASER 6

9. ACT ONE 7 EXT. TAWARET STATUE – BEACH EXTERIOR – MORNING RICHARD ALPERT speaks quickly with CINDY CHANDLER. RICHARD Find any way you can to get the sick ones up and moving. We need to leave in the next ten minutes. CINDY Richard, that's impossible. There are too many of them. It'll take us days to get to the Orchid. Richard pauses, weighing the pros and cons of the situation. After a moment, he nods resignedly to Cindy. RICHARD All right. Appoint a few people to watch over everyone here and then get two or three others to come with us. ILANA (O.S.) Why are we going to the Orchid, Richard? Richard turns around to find Ilana standing behind him, arms crossed. He then turns back to Cindy. RICHARD Ten minutes, Cindy. Cindy nods, heading into the camp to organize everyone else. Richard turns back to Ilana, smiling hopefully. RICHARD (CONT'D) The Orchid Station was built by the Dharma Initiative to study the manipulation of time. And deep below, hundreds of yards underground, there's a chamber with a wheel. (CONTINUED) 7

10. 7 CONTINUED: ILANA And what does it do? Richard motions Ilana to follow him back into the camp as he starts to prepare a pack for himself. RICHARD It moves the Island through space and time. It can dislodge people from the natural flow of history, causing them to jump around into the past and future. ILANA And you think that's what going on now? RICHARD No. I think time itself is dislodged, and the Island's feeling the effects of that. ILANA That wheel's going to fix that? Richard finishes tying up his pack, sighing as he gets back up to face Ilana. RICHARD The wheel's very delicate. It can be thrown off its axis. And if I'm right about what's going on, I'd say that's a given. ILANA So moving the wheel will save us? RICHARD It's worth a shot. It could right the Island's own history, which would stop the nosebleeds . . . (CONTINUED) 7

11. 7 CONTINUED: ILANA And everything that comes after. Richard nods, wiping a bit of blood from his nose. nods, convinced by his plan. ILANA (CONT'D) I'm on board. RICHARD Good. Let's see if everyone else is ready. Richard starts to head into the camp, but Ilana stops him. ILANA This wheel . . . who built it? RICHARD The same people who built that statue. Ilana looks up at the statue as Richard moves into the camp, heading straight for Cindy. 8 INT. AIRPLANE – BUSINESS CLASS – AFTERNOON Hawking sits on her plane, flipping through King Lear. looks up as the stewardess comes over the intercom. STEWARDESS (V.O.) Ladies and gentlemen, the captain has turned on the fasten seatbelt sign. We'll be arriving in Sydney very shortly. Thank you for flying with us on Oceanic Airlines. Hawking returns to her book as the WHOOSH takes us to: 9 INT. DHARMA HEADQUARTERS - LOBBY - FLASHBACK 9 8 She Ilana 7

Hawking walks into the Dharma lobby, heading purposefully for the RECEPTIONIST. (CONTINUED)

12. 9 CONTINUED: Namaste. RECEPTIONIST How can I help you? 9

HAWKING I'm looking for Gerald DeGroot. Eloise Hawking to see him. RECEPTIONIST Yes, of course. The receptionist presses a call button on her desk, and a few moments later, GERALD DEGROOT walks in to meet Hawking. GERALD Mrs. Hawking. Mr. Widmore has told us so much about you. HAWKING I'm sure he has. He has a few favors to pay back to me. GERALD That must be it. He's never allowed any outsider this level of access. HAWKING I'm touched. Gerald smiles, leading Hawking through the lobby. As they reach the back, they see two WORKERS pushing a large crate through. HAWKING (CONT'D) What's that crate for? Gerald notices the crate, now speaking quietly. GERALD A while back, we had a major accident at one of our offshore sites. Some problems with the natives. Anyways, we've been sending these periodic (CONTINUED)

13. 9 CONTINUED: GERALD (CONT'D) supply drops every few months since then. There's a homing beacon on the bottom of it that our people could use to call us. HAWKING I'm assuming it's been unsuccessful. GERALD We'll probably discontinue it in a couple years. Hawking nods as she and Gerald leave the lobby. 10 INT. DHARMA HEADQUARTERS - ARCHIVES - FLASHBACK Gerald leads Hawking into a room filled with folders and filings cabinets. Gerald locks the door behind him, then moves towards the cabinet. GERALD Now, then, who was it you wanted to know about? HAWKING Daniel Faraday. He worked with you in the mid-70s. Gerald nods, opening one of the filing cabinets and fingering through its contents. GERALD Faraday . . . Faraday . . . (He finds it, so:) Here we go. Daniel Faraday. He was one of our top physicists, actually. Gerald hands the file to Hawking, who looks through it excitedly. (CONTINUED) 10 9

14. 10 CONTINUED: HAWKING Did you know him? GERALD Met him a few times, come to think of it. He was mostly interested in time travel. Came up with a hypothesis that you could change the past. Seemed pretty out there to the rest of us. HAWKING Maybe he was right. GERALD What's that? Hawking pauses, realizing she's said too much. Having received what she wants, she gets up and moves to the door. HAWKING Thank you for your help, Mr. DeGroot. GERALD Wait, where are you going? HAWKING To see my son. I have to convince him to take a new job. Gerald clearly doesn't understand what Hawking's real meaning is, or why she is suddenly leaving. But Hawking knows, as do we - she's going to convince Daniel to go to the Island. And from that, the WHOOSH takes us to: 11 EXT. JUNGLE – DESMOND'S CAMP – LATE AFTERNOON 11 10

MILE STRAUME cuts JONAH, aka FLOCKE, free from his bindings, his eyes darting between his work and the body slumped against the far tree: BRAM, the man he just killed. (CONTINUED)

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Flocke stands up, nodding in thanks to Miles, who rises as well. FLOCKE You did well, Miles. You'll be able to help me in the war that's coming. MILES War? (Flocke nods, so:) I didn't sign on for any war. You told me if I came to you and killed him, you'd get me off this Island and get rid of my powers. So, are you gonna do it or not? FLOCKE Not yet. First, I need you to tell me what you saw at Richard's camp. MILES There were people dying there, some kind of medical emergency. What else is new on this Island? FLOCKE What about Richard? Was there a woman with him? MILES (Impatient) No, it was just him. I've told you all I know! Flocke nods resignedly, getting his knife and holstering it, obviously preparing to leave. Miles approaches him angrily. MILES (CONT'D) What, you're just gonna leave? about me? What

(CONTINUED)

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Flocke turns back to Miles, looking at him the same way that Jacob looked at Ben when he asked that exact question. But, instead of Jacob's dismissive response, Flocke answers Miles directly with: FLOCKE You're going to come with me back to the camp and follow my every word. We both have work to do, and we're going to have to cooperate with each other. (A beat, then:) This is the way it has to be, Miles. Otherwise, I'm not going to help you. Miles turns around angrily, heading the other way into the jungle. MILES Nothing's worth this. FLOCKE Oh, I suppose you're going to go back to Richard and explain why you murdered his friend. Miles turns back to Flocke, hatred burning in his eyes. But at the same time, he knows that Flocke is right. He is left with no choice but to go back, stand in front of Flocke, and wait for further instructions. FLOCKE (CONT'D) That's better. Now, follow me. Miles does so unquestioningly, following Flocke back towards the: 12 EXT. NORTH BEACH – A LITLE LATER 12

The OTHERS who followed Flocke sit together, beyond panic. (CONTINUED)

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Huddled in a tight group, they stare forward at the dead who now outnumber the living. They are interrupted by Flocke, who emerges from the jungle, Miles at his side. FLOCKE Hello, again. The Others rise, staring in shock and fury at Flocke. HARPER STANHOPE, steps forward accusingly. HARPER Where the hell have you been? FLOCKE I'm sorry, but I had business to attend to. HARPER Where's Bram? FLOCKE He had an accident. (Off Harper's look:) That's not important right now. What is important is that I've just received instructions from the Island. I know what we have to do to save ourselves. HARPER Why should we believe you? Flocke glances imperceptibly at Miles, enough to send him a message. He steps forward, standing beside Locke. He's right. MILES I was there, I heard it. One,

Miles' word does a bit to convince the Others, but they still remain suspicious. HARPER Well, what's your plan? (CONTINUED)

18. 12 CONTINUED: FLOCKE We're going to go back to your friend Richard. And he's going to show us to the Orchid. And, when we get there, I'm going to save us all. I'm going to turn the wheel. Harper, the Others, even Miles stare in surprise at Flocke, but he simply turns around, setting off for the Orchid. After a moment, Miles turns around, catching up so that he follows Flocke closely. A few of the Others then follow, forming a small crowd behind Flocke and Miles. Last is Harper who, after a few moments of thought, follows the group reluctantly. And as we CRANE BACK across the beach, looking at this caravan headed towards a surefire confrontation, a sense of dread starts to settle in for what will happen at the Orchid. And off this: END OF ACT ONE 12

19. ACT TWO 13 INT. MULLEN HOME – KITCHEN – NIGHT KATE, SAWYER, and HURLEY sit around the kitchen table, discussing what has happened to them as well as Hurley's vision of Locke. KATE So . . . Locke came to you. Yeah. back. HURLEY He said we needed to go 13

SAWYER He mention why? HURLEY He just said we had to. The Island won't let us go on with our lives if we don't. Sawyer leans back in his chair, almost ready to get up and leave the room. SAWYER You know, I'm getting pretty damn sick of what that Island wants us to do. HURLEY Dude, I thought you'd be first in line to go. SAWYER And why is that? HURLEY Well, if everything's back to the way it was before . . . Juliet should be there, shouldn't she? (CONTINUED)

20. 13 CONTINUED: Sawyer stares at Hurley, shocked. He actually hadn't thought of where Juliet might end up. After a moment, however, he shakes his head. SAWYER She's gone, Hugo. Come on, man. HURLEY Have a little hope. 13

Hurley is quickly convincing Sawyer of his plan, and he then nods, agreeing to Hurley's wishes. SAWYER I'll think about it. Hurley smiles, turning over to Kate, but she remains stern, still unwilling to even consider returning to the Island. KATE Hurley, what was the point of doing everything we did if we're just going to go back? HURLEY I don't know. But if we don't, who knows what'll happen? (A beat, then:) Just come with us to Sydney, OK? Hurley looks at Kate pleadingly; after a few moments of thinking, she nods as well. KATE We should go now. I have to leave this house anyways. HURLEY I'll drive. Hurley gets up, taking out his keys and leaving his house. After he leaves, Sawyer looks at Kate. (CONTINUED)

21. 13 CONTINUED: SAWYER You're really gonna go back? Kate gets up, dutifully getting ready to leave, not looking at Sawyer as she reveals: KATE No. I'm going to make sure Hurley doesn't do something stupid. (A beat, then:) Why are you going, Sawyer? SAWYER (Sarcastic) Free trip to the States. Kate shrugs angrily, showing Sawyer to the door. He heads out, leaving Kate alone in the kitchen. She looks around for a moment, saying goodbye to the old farmhouse, then leaves the room. 14 EXT. UNCHARTED BEACH – LATE AFTERNOON 14 13

Richard, Ilana, Cindy, and TWO OTHERS trek across the beach, heading for the Orchid. Cindy walks up to Richard, clearly tired. CINDY Richard, we've been at it all day. We have to take a break. RICHARD The Orchid's still a ways away. We're gonna have to keep going if we want to save everyone. CINDY What about us? RICHARD We'll be fine. (CONTINUED)

22. 14 CONTINUED: CINDY We'll save them, Richard. You don't have to kill yourself trying. RICHARD I've seen too many of them die to stop now. Cindy stops Richard, opening up to him while scolding his mission. CINDY I was there more than you were. know we need toI 14

Cindy is suddenly interrupted by a RUSTLING from the bushes next to her. She and Richard spin around, trying to see who, or what, is coming. Ilana follows suit, raising her rifle, her eyes scanning through the bushes, locking onDESMOND HUME, running out from the jungle, his hand clutching his bleeding shoulder. Richard raises a hand, stopping Ilana. RICHARD Don't shoot. Richard steps forward to meet a staggering Desmond, helping him to the ground. RICHARD (CONT'D) (To Desmond:) What happened? DESMOND Who are you? RICHARD My name is Richard. DESMOND Are you one of them? (CONTINUED)

23. 14 CONTINUED: RICHARD (Rote) I can help you. 14

No.

Cindy and Ilana walk over, staring at Desmond curiously. DESMOND Can you get a bullet out of a shoulder? CINDY I might be able to. Cindy steps forward, ripping open Desmond's shirt and examining his shoulder. After a moment, she nods to Richard. CINDY (CONT'D) (To Richard:) I think I can help him, but I need some time. ILANA We don't have time. CINDY I'm not leaving him. Ilana turns to Richard, placing the decision in his hands. He looks over at a dying Desmond, weighing his options carefully. After a moment, he nods resignedly. RICHARD (To Cindy:) Do this as quick as you can. Cindy nods, quickly taking out her pack and pulling out some medical supplies. Desmond nods to Richard gratefully, but Richard doesn't respond, heading back towards the ocean. Ilana looks after him, but doesn't follow. (CONTINUED)

24. 15 INT. HURLEY'S CAR – DAWN Kate sits in the front seat, Sawyer in the back, barely awake. Hurley drives down the road, sipping a big cup of coffee. KATE Where are we gonna stay when we get to Sydney? HURLEY I've got rooms booked for all of us. (Suddenly remembering:) Oh, yeah! Sawyer, can you check my bag? Sawyer fishes through Hurley's bag, pulling out two plane tickets. HURLEY (CONT'D) I got one for each of you. Sawyer examines the plane tickets, passing one up to Kate. SAWYER Oceanic 815. Kate takes her ticket reluctantly, trying to think of a way to sway Hurley. KATE What about everyone else? coming back, too? Are they 15

HURLEY Well, you guys were up first. But I'll probably talk to Jack, Sayid. Anyone who was back there. (A beat, then:) Do you know why we remember everything? KATE No clue. (CONTINUED)

25. 15 CONTINUED: HURLEY Maybe we'll find out when we get back to the Island. KATE If we get back to the Island. HURLEY Right. (A beat, then:) We're here. Kate and Sawyer look outside the car as Hurley stops at: 16 EXT. BUS STOP – CONTINUOUS 16 15

Hurley's car comes to a stop, and Sawyer and Kate get out to find Sun and Jin waiting for them, suitcases in hand. Kate and Sawyer stare at the pair in shock, but Hurley gets out and embraces them both warmly. HURLEY It's good to see you guys. Jin and Sun smile at Hurley, then turn to Kate and Sawyer. JUMP CUT TO: Jin, Sawyer, and Hurley catch up by Hurley's car, while Sun and Kate sit together on the bench under the bus stop. KATE So, you can remember everything, too? SUN Both of us. I was with Richard Alpert and Frank at a statue, and then a minute later I was back with Jin. (CONTINUED)

26. 16 CONTINUED: Sun pauses, laying a comforting hand on Kate's arm. SUN (CONT'D) I'm sorry for what I did to Aaron. Kate shakes her head, smiling warmly at Sun. Behind them, Sawyer, Jin, and Hurley look behind in confusion at an approaching car. KATE It's OK. It never happened now. (A beat, then:) How did you two get to Australia, anyways? SUN We were visited by a woman named Eloise Hawking. The mysterious car parks in front of Hurley's car. In the background, the three men walk over to meet whoever is getting out. KATE So, where is she now? Sun stares behind Kate in shock, pointing a finger forward. Kate follows Sun's gaze to see Hurley, Jin, and Sawyer standing in front of ELOISE HAWKING HERSELF. Kate rises, staring at Hawking in confusion as she waves at Kate. HAWKING Hello, Kate. (A beat, then:) We need to have a little chat. And off Hawking's falsely warm smile at Kate END OF ACT TWO 16

27. ACT THREE 17 EXT. BUS STOP – NIGHT 17

And we're right back where we left off. Sun, Jin, Sawyer, and Hurley stare in shock at Hawking, but she only has eyes for Kate. She turns around, softly shutting her car door as Kate steps forward. KATE Why do you want to talk to me? HAWKING I need to tell you what must be done next so that you all can return to the Island. Hawking steps forward, but Sawyer holds up a hand to block her. Hold on. go back? SAWYER Why do you want us to

HAWKING It's all very complicated and hypothetical. I doubt it would interest you. SAWYER We've got time. Try me. Hawking pauses, unwilling to explain what's going on to Sawyer. However, as she looks around and sees that the others have been waiting for an explanation as well. Resigned to fully going over what has happened, Hawking begins. HAWKING You know that you have been sent back to the days before the crash with full knowledge of what is going to happen. And I'm sure you've also (CONTINUED)

28. 17 CONTINUED: HAWKING (CONT'D) heard that you now must make the choice to return to the Island. HURLEY Yeah . . . about that. have to go back? Why do we 17

HAWKING Because of after what happened, time has been shattered, and returning to the Island will repair it. (Off their looks:) You see, history is changing. So much is uncertain now, everything is a variable. (To Sawyer and Jin:) When you were traveling through time, you suffered from nosebleeds, headaches, worse. JIN That's what's happening now? Hawking walks forward, passing by Hurley's car and motioning for everyone to surround her by the bench. HAWKING It will, but on a much larger scale. Because now it's not people, but time itself that's skipping about. (A beat, then:) How did things stop before? SAWYER We stopped time traveling. Ended up in the 70s for three years. HAWKING You found a constant. needs to happen now. That's what (CONTINUED)

29. 17 CONTINUED: KATE A constant. HAWKING If things proceed as they are, your flight will never crash, and time will remain broken. But if you choose to take Oceanic 815 once again, then you will restore a definite. Something will have always happened, and history can repair itself from there. SUN So, if we don't crash again . . . HAWKING You risk so much. Our lives constantly intersect, so much so that if one life is changed, all are. SAWYER Great. Now we've gotta stop the end of the damn world. The group pauses, absorbing everything Hawking has said. 18 EXT. UNCHARTED BEACH – EARLY EVENING 18 17

Cindy works diligently over Desmond, working to remove the bullet from his shoulder. A ways over, Richard and Ilana discuss the situation while the others stand guard. ILANA If this works, we need to have a plan for the man who killed Jacob. RICHARD One problem at a time, OK? ILANA He's very dangerous. here anymore. And Jacob's not (CONTINUED)

30. 18 CONTINUED: RICHARD You sure about that? (Off Ilana's look:) I saw some white smoke coming out from the statue after Jacob died. ILANA (Intrigued) Keep talking. Richard starts telling Ilana about the smoke as we PAN OVER to Desmond and Cindy. Cindy is stitching up the wound. Desmond breathes heavily, clearly in pain but grateful for Cindy's help. DESMOND Thanks for doing this. CINDY Please. You're the one going through surgery without anesthetic. DESMOND You got any whiskey? Cindy laughs as she finishes stitching up the wound, smiling to herself as she sits back in the sand. I'm done. CINDY You're gonna be OK. 18

Desmond and Cindy both smile as Desmond sits up slowly, looking at his shoulder in amazement. DESMOND Thank you so much. CINDY No, thank you. (Off Desmond's look:) It's just . . . things have pretty grim around here, and I sort of (CONTINUED)

31. 18 CONTINUED: CINDY (CONT'D) needed to win one. DESMOND Glad to help. Cindy smiles, fishing around for something. she pulls out some pills. CINDY Antibiotics. You'll want to take three a day to stave off infection. Desmond nods, taking the pills as Cindy gets back up, heading over to Richard and Ilana. They get up, looking at her expectantly. RICHARD Are we ready? Yeah. CINDY He's fine. After a moment 18

Richard smiles, patting Cindy on the shoulder as he walks by, gathering up his pack. All right. boats. Boats? RICHARD We'll get to the Orchid faster if we sail around the coast. Ilana nods reluctantly, following Richard down the beach. The two others follow, Cindy and Desmond behind them. As she heads out, Cindy smiles to herself. (CONTINUED) RICHARD Let's head over to the ILANA

32. 19 EXT. BUS STOP – NIGHT 19

Hawking sits on the bus stop bench, rifling through her bag to make sure she has everything. The others stand her, dumbfounded. HAWKING Well, I think that explains everything. If you will all excuse me whileHawking gets up, heading back to her car, but Kate stops her with: KATE But why us? Why do we remember and Claire doesn't? HAWKING Because you were touched. HURLEY Like . . . crazy touched? Hawking turns around, smiling at Hurley and shaking her head. HAWKING Physically. You were all touched by a man named Jacob. Everyone looks at each other, trying to remember when they could have met Jacob. Hurley, however, immediately knows what Hawking is talking about. HURLEY Blonde, early 40s? Just pops out of nowhere? HAWKING Sounds right to me. And now Sun, Jin, Kate, and Sawyer start to remember their own encounters with Jacob: a wedding, a crime, a funeral. (CONTINUED)

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And as they all remember Jacob, they turn back to Hawking, shocked, eager to know more. KATE What did it do? HAWKING It enabled you all to return here, to this moment, to make the choice you needed to. HURLEY So, he saved our lives? (Hawking nods, so:) That's great. Now we can get Jack, SayidHAWKING I'm afraid not. Jacob's touch allowed you all to return here from the Incident, but no one can predict where a bullet will fall. HURLEY So . . . Sayid's dead? HAWKING I'm afraid so. Everyone now reels from Sayid's death. however, Hurley looks up. After a moment,

HURLEY If he's dead, then why haven't I seen him? (Off Hawking's look:) You don't know I can see dead people? HAWKING I don't know everything. (CONTINUED)

34. 19 CONTINUED: SAWYER (To himself:) Sure as hell seems like it. HAWKING (To Hurley:) You haven't seen him because he has his own destiny to fulfill. (A beat, then:) That's why all of you were touched. Because you are a part of the Island's destiny, just like your Sayid, and John Locke for that matter. And your destiny lies on Oceanic 815. Everyone nods, still convinced that getting back to the Island is the best choice. Kate, however, still remains unconvinced, though her resolve is weakening. So, Hawking turns back to her. HAWKING (CONT'D) (To Kate:) So, now that's all taken care of, can we get to that chat? After a moment, Kate nods, stepping away from the group with Hawking. 20 EXT. BEACH CAMP – SHORELINE – MORNING 20 19

Richard and his group emerge on the beach, clearly exhausted from hiking across the Island all night. ILANA Where are your boats, Richard? Richard points forward to an outrigger canoe at the front of the camp. The group walks forward, noticing the devastation around them as they head by.

(CONTINUED)

35. 20 CONTINUED: DESMOND What do you think happened here? RICHARD About a year ago, our people scavenged the camp for supplies. They got a little rough. (Off Desmond's look:) Old wounds. Desmond nods as the group reaches the canoe, climbing in. Richard, Desmond, Cindy, Ilana, and the two Others barely fit, but they somehow squeeze in, taking off from the beach. 21 EXT. OPEN OCEAN – A WHILE LATER 21 20

Richard and the Others paddle the outrigger as Ilana keeps a sharp eye out. Suddenly, she sees something in the distance. ILANA What's that? The others follow her gaze, seeing what looks like another outrigger a ways away. Cindy hands Ilana a pair of binoculars. RICHARD What do you see? Through the binoculars, Ilana sees another outrigger ahead, with several passengers. Though most of them cannot be clearly seen, the back of one head is clearly visible: the bald John Locke. Ilana puts her binoculars down, glaring forward. ILANA It's him. (To Richard:) Follow them. (CONTINUED)

36. 21 CONTINUED: Richard obliges, paddling closer to the other boat. Suddenly, Ilana pulls out her gun, opening fire. JUMP CUT TO: 22 EXT. OPEN OCEAN – IMMEDIATELY FOLLOWING 22 21

From “The Little Prince”, the other canoe is suddenly thrown into chaos by Ilana's gunshot. CHARLOTTE LEWIS screams: CHARLOTTE Get down! Sawyer, Locke, Miles, JULIET BURKE, and DANIEL FARADAY immediately duck down. JUMP CUT TO: 23 EXT. OPEN OCEAN – IMMEDIATELY FOLLOWING Ilana reloads her rifle as the two Others start shooting at the other boat as well. ILANA (To Richard:) Get closer! Richard starts paddling harder as Ilana finishes reloading, shooting again. Cindy moves forward, trying to help paddle. She gets up a bit, reaching for the paddle. JUMP CUT TO: 24 EXT. OPEN OCEAN – IMMEDIATELY FOLLOWING 24

From “The Little Prince”, Juliet gets up from the boat, pulling out a rifle and firing a shot. It hits one of the people in the other boat, but the outrigger keeps paddling forward and chasing them. Paddle harder! SAWYER They're getting closer! (CONTINUED)

37. 25 EXT. OPEN OCEAN – IMMEDIATELY FOLLOWING And as we JUMP CUT back to Richard's outrigger, we find: CINDY. A bullet straight through her chest, collapsed on the boat. Richard and Desmond hover over her, seriously concerned. Cindy. RICHARD Can you hear me? Cindy! 25

Ilana keeps shooting at the other boat, but it suddenly disappears. After a moment of disbelief, she turns back around, looking at Cindy sadly. Cindy, however, smiles as she reaches up, grabbing Desmond's hand. CINDY I saved you. DESMOND Aye, you did. CINDY Thank you, Desmond. Desmond smiles blearily at Cindy as her eyes go out of focus, dying immediately. And off this moment of pathos END OF ACT THREE

38. ACT FOUR 26 EXT. OPEN FIELD – NIGHT 26

Kate and Hawking stand a few yards away from the bus stop, speaking quietly. All right. is it? KATE You got me. Now, what

HAWKING You still don't want to go back to the Island, do you? (Kate shakes her head, so:) Why is that? KATE I don't think it's what's supposed to happen. I think that Claire and Aaron are supposed to be together, and if we crash again, that can't happen. HAWKING She made her choice. She gave him away. KATE I can't believe she would do that. HAWKING You don't think a mother could sacrifice her child? (A beat, then:) You know, of course, that my son was Daniel Faraday. And you also know that I killed him. (A beat, then:) But what you don't know is that twenty seven years later, I was the one who sent him to the Island, knowing full well what would happen. (CONTINUED)

39. 26 CONTINUED: Kate drops her arms, staring at Hawking in shock, growing angrier with her for what she did. HAWKING (CONT'D) I sent him to his death. KATE Why? HAWKING Because it had to happen. Fate wouldn't allow it any other way. I had to make a sacrifice. KATE For what? The Island? it ever given you? What has 26

Hawking pauses, looking past Kate, unsure of how to answer the question. Eventually, however, she retorts with: HAWKING (Softly) It gave me Daniel in the first place. If I hadn't left when I did, he would have . . . It is too much for Hawking, a woman who never divulges any personal emotion, and certainly not to a stranger, to continue. But she has made her point, and Kate is now almost entirely convinced of Eloise's plan. HAWKING (CONT'D) Who knows what would happen if you didn't crash? But if you do return, you'll both have him in your lives again. (A beat, then:) Plans fail. People die. All we can do is make the choice to move on. (CONTINUED)

40. 26 CONTINUED: 26

Kate nods, ready to return to the Island. Hawking smiles, leading her back to the bus stop. And as the two women cut through the grass, the WHOOSH begins once more, and we head to: 27 INT. JEWELRY SHOP – MAIN SHOWROOM – DUSK – FLASHBACK 27

Hawking tidies up the shop as a customer enters. She looks up, ready to tell them that the shop is closed, ready to shoo them away, when she sees her visitor is none other than DANIEL FARADAY. Her son. Standing right in front of her, wearing his Dharma jumpsuit, smiling warmly at his mother. DANIEL Eloise? HAWKING Daniel . . . you survived. DANIEL No. But there's something you have to know. (Off her look:) You have work to do. Hawking nods, slightly taken aback by her son's brusque manner, but ignores it, overwhelmed to see him in front of her. After a moment, she walks up to him, hugging him tightly across the shoulder. HAWKING Daniel, I'm sorry for what I did. I'm sorry. It's OK. DANIEL It's what you had to do.

Hawking nods, sighing in relief, a large part of her conscience clear. (CONTINUED)

41. 27 CONTINUED: DANIEL (CONT'D) Now, come on. We don't have much time, and you need to get to Korea by tomorrow. HAWKING Korea? Daniel nods, and now we understand – Hawking has been getting her instructions from him. Everything she's done so far this year, all of what she knows, has come from this meeting. So instead of repeating information Hawking herself has already said, the WHOOSH takes us away to: 28 EXT. BUS STOP – IMMEDIATELY FOLLOWING Hawking leads Kate back to the others. HAWKING Well, I think you all know what you need to do. I should be on my way. Hawking heads back to her car, stopping by Hurley on her way out. HAWKING (CONT'D) Oh, and Mr. Reyes? If you find yourself in a bind, know that I'm a phone call away. HURLEY But I don't have your number. HAWKING It'll come to you. Hawking smiles, getting into her car. No one gathered at the bus stop has neither the energy or the will to ask her more probing questions, but just as Hawking starts to close the door, Hurley steps forward. (CONTINUED) 28 27

42. 28 CONTINUED: Hey. HURLEY Where are you going? 28

HAWKING Los Angeles. I have a lot of work to do there. And, without another word, Hawking shuts her door, driving off into the night, leaving the five survivors at the bus stop to grapple with her words. 29 EXT. SECLUDED BEACH – DAY Desmond, Ilana, and the two Others stand in mourning as Richard pushes the outrigger into the water, Cindy's body inside. As the current starts to carry it out to sea, Richard says simply: RICHARD Good bye, Cindy. 30 EXT. JUNGLE – PATHWAY – A LITTLE LATER Richard leads his group through the jungle.. RICHARD We're almost there. Five minutes andHe is interrupted by the click of a safety as Flocke appears at his side, a gun pointed right at his head. Behind him, Miles takes Ilana. Several others from Flocke's team now appear as well. Richard looks around at the sudden ambush, quickly trying to figure a way out. But Flocke knows he has them, and so he greets his new captives with a simple: FLOCKE Hello, Richard. And off Flocke's piercing gaze, END OF ACT FOUR 30 29

43. ACT FIVE 31 INT. LAMP POST CHURCH – CHAPEL – NIGHT 31

Hawking walks slowly into the church, taking a seat at the front pew. As she closes her eyes to think, the WHOOSH begins once more. HAWKING (V.O.) All I want is for you to do what you're supposed to do. 32 INT. JEWELRY SHOP – MAIN SHOWROOM – DUSK – FLASHBACK From “The Choice”, Hawking speaks to Sayid gravely. SAYID And if I don't? HAWKING Then the fate of this entire world is left to chance. 33 INT. JEWELRY SHOP – BACK ROOM – LATER – FLASHBACK 33 32

From “The Choice”, Hawking instructs Sayid on his mission. HAWKING (V.O.) There are no rules anymore. Events have occurred that have caused the space-time continuum to break apart. 34 INT. ELOISE HAWKING'S CAR – NIGHT - FLASHBACK From “The Choice”, Hawking nods to the pistol she expects Sayid to use. HAWKING (V.O.) People are now appearing where they aren't supposed to . . . 34

(CONTINUED)

44. 35 INT. LAMP POST CHUCH – CHAPEL – NIGHT – FLASHBACK 35

From “Where the Truth Lies”, Hawking confronts Ben after she obtains her information. HAWKING (V.O.) Memories are being erased . . . 36 INT. JEWELRY SHOP – BACK ROOM – DAY – FLASHBACK 36

From “Where the Truth Lies”, Hawking and Ben talk seriously about what's been happening. We JUMP CUT through their conversation. HAWKING The dead are now walking amongst the living. BEN How do you know that? HAWKING I was told. And now we JUMP CUT to Ben getting up from the table. BEN Thank you, Eloise. And at the door, Ben stops as he reaches the doorknob. BEN (CONT'D) Who was it that talked to you? HAWKING I'm sure you'd love to know. And off of Hawking's knowing smile, the WHOOSH brings us back to: 37 INT. LAMP POST CHURCH – CHAPEL – NIGHT A visitor enters the church, standing away from Hawking. (CONTINUED) 37

45. 37 CONTINUED: Eloise. DANIEL (O.S.) I suppose he left. 37

Hawking turns around to find Daniel walking back up the aisle towards her. But Hawking doesn't smile now; she simply nods curtly, turning back around. HAWKING Yes, Benjamin's left. And I've done all that you've asked me to do. Daniel reaches the front, taking a seat next to Hawking. DANIEL Then all we can do now is wait. Hawking looks over at Daniel, studying him for a before: HAWKING I know you're not my son. Daniel looks over, mildly bemused at Hawking's guess. then he nods. This is not Daniel Faraday. DANIEL When did you figure it out? HAWKING I was thinking about our meeting, and then I realized . . . my son never called me by my own name. If you made of something more than black smoke, you'd know that. And now we realize – this is the Monster that Hawking is speaking with. All this time, she's been following the Monster's orders, and she didn't even know it. DANIEL Fair enough. (CONTINUED) And

46. 37 CONTINUED: HAWKING Why did you lie to me? DANIEL I did what I had to in order to get everyone back to the Island. HAWKING They might not even board the plane. I told them they had a choice. DANIEL They don't. HAWKING You don't work for Jacob, do you? DANIEL No. And now Hawking's usual businesslike demeanor falters. After all, she's talking to who she thought was her dead son but it actually an enemy agent who has just manipulated her to follow his orders. Anyone would crack at this point, even Eloise Hawking. HAWKING Why me? DANIEL It doesn't matter. You did what you had to do. Go home. HAWKING What about what I wanted? I wanted forgiveness, I wanted to see my son again! DANIEL We all make sacrifices. (CONTINUED) 37

47. 37 CONTINUED: 37

Hawking now rises, railing against the monster in front of her. HAWKING Don't you dare talk to me about sacrifice, not after IDANIEL After you what? Sent him back to die? (A beat, then:) You could have chosen not to kill him. You could have chosen to raise him differently, to not send him back. But you didn't. HAWKING Because I couldn't! Because of what would happen to the Island! DANIEL Because you were afraid. (A beat, then:) The universe course corrects itself, you know that. If he was meant to go, he would have found a way, but you had to do it. You had to save the Island however you thought it needed to be, even at the cost of your only son. Even if this isn't right, even if Hawking was supped to send Daniel back to the Island, the Monster's judgment hits her hard, silencing her immediately and making her realize what kind of person she is. “Daniel” now gets up, getting ready to leave, but not before he makes his killing blow: DANIEL (CONT'D) You don't deserve forgiveness for anything you've ever done in your life. (CONTINUED)

48. 37 CONTINUED: 37

“Daniel” leaves the church as Hawking is left to face her own wicked, even selfish actions, really looking at herself for the first time in a long time. And as she does this, she slowly crumbles, crying softly as the loss of her son by her own hand. 38 INT. SYDNEY BAR – LOUNGE AREA – NIGHT Kate sits alone at a table, sipping a beer and talking on the phone. KATE I'm glad you guys are settled in. I'll be back in a little bit . . . no, I'm fine, I just needed some time alone . . . yeah . . . OK. Bye, Sun. Kate hangs up the phone, returning to her drink to find that JACK SHEPHARD has entered the bar and is heading over to her table. Kate rises, shocked, confused . . . and angry. KATE (CONT'D) Jack. JACK Hurley told me you were here. (Off her look:) He called my cell with some story about seeing Locke . . . I'll hear about it later. Hey. Jack motions to sit down; Kate reluctantly obliges. JACK How you doing? KATE Fine. (A beat, then:) Why did you come here, Jack? (CONTINUED) 38

49. 38 CONTINUED: JACK I wanted to apologize for what happened before, and tell you that whatever you want to do, I'm on board. Wow. Kate wasn't expecting that. But she quickly bounces back, trying to poke a hole in Jack's suddenly altruistic demeanor. KATE Why the change of heart? JACK Keep your friends close, right? KATE And your enemies closer. JACK I'm not your enemy. (A beat, then:) I love you, Kate. Kate can't help but smile at Jack's declaration of love, and for the first time in a long time, she reciprocates. KATE I love you, too. Jack smiles, taking Kate's hand and holding if softly. KATE (CONT'D) Come back to the hotel. We'll tell you everything there. Jack nods, getting up and following Kate out of the bar. 39 EXT. SYNDEY STREET – IMMEDIATELY FOLLOWING Jack and Kate emerge on a very quiet street. (CONTINUED) 39 38

50. 39 CONTINUED: JACK So, where are you guys staying? KATE It's just down byKate is interrupted by a sudden movement all around her and Jack as countless policemen jump out of various hiding spots, their guns aimed right at Kate. Kate immediately shoves her plane ticket into Jack's hand and pushes Jack away, thinking quickly of a possible escape route, but before she can move any further, a gun is pointed at the back of her head. MARS Don't move, Katie. EDWARD MARS, the Federal Marshal, stands right behind Kate, a gun in one hand, cuffs in another. And now, just in case we didn't remember before, we do now – Kate's been a fugitive all this time. And an entire force has been combing Australia looking for her. But now we all remember as Kate's crimes catch up with her once again in the form of the Marshal's handcuffs. He clips them around her wrists, then stands up, addressing his men proudly. MARS (CONT'D) We got her. We got her. And off Kate's helpless form below him: CUT TO BLACK: END OF EPISODE 39


				
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