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					Episode #: 605


LOST “Found” #605 TEASER 1 INT. SYDNEY POLICE STATION – INTERROGATION ROOM – NIGHT JACK SHEPHARD sits in the sparsely decorated room, quietly rapping his fingers against the metal table as he tries to figure out something to do. He is interrupted by the entrance of EDWARD MARS, the Federal Marshal looking for KATE AUSTEN. Mars shuts the door behind him, strolling over to Jack. MARS Dr. Jack Shephard. Sorry to keep you here so long, but I wanted to ask you a few questions. Mars sits at the desk, taking out a pad and pencil. MARS (CONT'D) How long have you known Miss Austen? JACK Just met her tonight. know her last name. I didn't even 1

MARS God knows she's done that before. Mars makes a couple of notes on his pad, setting his pencil down and looking up at Jack. MARS (CONT'D) Anything else you can tell us about what happened? Anything she said? JACK I told the sergeant all I know. (CONTINUED)

2. 1 CONTINUED: Mars nods, closing up his pad and getting up, waving Jack out of the room. MARS Then I thank you for your cooperation. If we need anything else, we'll be in touch. Jack nods, getting up from his chair and heading for the exit. As he reaches the door, he pauses, turning back to face Mars. JACK Is there any way I could see her? sure she's OK. MARS That's not possible. (Off Jack's look:) She's a fugitive, Dr. Shephard. don't want to talk to her. Make 1


Jack nods reluctantly, heading out of the room. As he allows Mars to shut the door behind him, the flashback WHOOSH cuts in, and we cut to: 2 INT. JACK SHEPHARD'S CAR – NIGHT – FLASHBACK 2

Jack and CLAIRE LITTLETON sit in silence as he drives her back to her house. This scene follows Jack's confrontation with Kate over Claire. CLAIRE How did you know Kate and Sawyer, anyways? JACK Kate and I . . . we're old friends. CLAIRE You're friends with a fugitive? (CONTINUED)

3. 2 CONTINUED: JACK I didn't know that when I met her. CLAIRE So, how did you know where she'd be? JACK I've, uh, been trying to find her lately. Talk of her out of doing something that's wrong. Claire isn't entirely convinced by Jack's answer, but is sick of asking questions. CLAIRE Well, good luck. Claire shakes her head in shame as she looks out the window. CLAIRE (CONT'D) I feel like such an idiot. (Off Jack's look:) I let them fool me into thinking that it was so important that I keep the baby. Jack is now torn between his need to not reveal anything to Claire and his desire to give her the advice he knows she so desperately needs. JACK You don't have to give the baby up, Claire. CLAIRE No, I know. (A beat, then:) She made a lot of sense. I mean, all I can think about lately is family. (CONTINUED) 2

4. 2 CONTINUED: CLAIRE (CONT'D) Do you have a family, Jack? Jack keeps his eyes straight forward on the road, being put on the spot by Claire's question. Not surprising, considering he knows she's his half-sister. JACK Just my parents, really. CLAIRE Right. Well, my mum's been sick for a while now, and my dad . . . I think he's gone for good. Claire's words, though she doesn't know it, are really making an impression on Jack. He grips the steering wheel hard, biting his tongue. JACK I guess family is important, yeah. CLAIRE I think so. And I do want one. I dunno, maybe I should actually go back to that psychic. Jack nods, not even hearing what Claire's saying, lost in thought about his father, about Kate, about anyone he considers family. CLAIRE (CONT'D) Or I'll just wake up tomorrow and try to forget all this ever happened. She turns back to Jack, smiling. Jack, however, can't meet her gaze, instead nodding forward to the road. JACK Is this your street? (CONTINUED) 2

5. 2 CONTINUED: Claire looks forward, nodding and pointing to the left. CLAIRE Yeah, I live down at the end. Jack nods, driving forward. 3 EXT. RESIDENTIAL STREET – CONTINUOUS - FLASHBACK Jack's car pulls up to Claire's house, stopping to let Claire get out. As she readies to close the door, she looks in, smiling at Jack. CLAIRE Well, thanks for the ride. JACK Yeah, of course. Claire shuts the door, heading back home. 4 PAN IN to find: 4 3 2


Jack watches Claire go in, then breathes heavily, pausing for a moment before fishing around in his pocket. He pulls out the object he brought to Kate's holding it up in front of him. And now, we can clearly see that it is: AN ENGAGEMENT RING. Jack was going to propose to Kate.

Jack looks at the ring longingly for a moment, then puts it back in his pocket, starting up his car and driving off. 5 INT. HOTEL LOBBY – A WHILE LATER – FLASHBACK Jack walks up to the CONCIERGE, who is working diligently behind his desk. As soon as he sees Jack, however, he stops, looking up and smiling. CONCIERGE Good evening, sir. What can I do for you? (CONTINUED) 5

6. 5 CONTINUED: JACK I'm looking for a guest who's been staying with you. His name is Christian Shephard. (Off the concierge's look:) He's my father. CONCIERGE He is, is he? Well, then, maybe you could tell us where he is. JACK What? CONCIERGE Maid says he hasn't been in his room in a few days. Jack nods glumly, not at all surprised by the concierge's news. JACK I couldn't tell you where he is. (A beat, then:) Well, thanks for your help. The concierge nods, and Jack heads out of the hotel. the WHOOSH kicks back in, we go to: 6 INT. HURLEY'S HOTEL ROOM – NIGHT HUGO “HURLEY” REYES idly flips through the channels when suddenly, there is a knock at his door. He gets up, answering it to find Jack waiting on the other side. HURLEY Jack. JACK Hey, Hurley. (CONTINUED) And as 6 5

7. 6 CONTINUED: HURLEY Did you find Kate? Where is she? JACK She got arrested. They've got her in custody. Hurley's eyes widen in shock, but Jack shakes his head, assured. JACK (CONT'D) Don't worry about it. If things go to plan, she'll still be getting on Flight 815, just like she did before. HURLEY So, what are we supposed to do? JACK We're supposed to make sure that everything happens the way it's supposed to and that we go back to the Island. HURLEY So, you're actually doing this? JACK Yeah, I am. Hurley smiles, welcoming Jack into his room. shuts the door to room 815 END OF TEASER And as Jack 6


BERNARD NADLER fetches two tea cups from one of the shelves in his camp. Behind him, his wife ROSE NADLER fills up a pot with water. ROSE We're gonna have to get a refill soon. BERNARD So we'll go to the caves after tea. Rose nods, placing the tea pot on the campfire, turning to Bernard as she tries to light a fire by rubbing two sticks together. ROSE You think they're gonna come back for us? BERNARD Who knows? It seemed like it was something serious. ROSE It always is. Bernard smiles, brining the tea cups over to the fire. takes the sticks from Rose, trying to light the fire himself. BERNARD Well, maybe if Jack's bomb doesn't go off, they can come back and bring us some matches. Rose smiles as VINCENT enters the camp, tail wagging as he heads towards Rose and Bernard. Bernard smiles, pulling out a treat from his pocket and patting Vincent on the head. (CONTINUED) He

9. 7 CONTINUED: Hey boy. BERNARD (CONT'D) Hey, there. 7

Bernard gives Vincent the treat, then lets him sit down and eat it. Afterwards, he turns back to Rose, his smile fading. BERNARD (CONT'D) What if the bomb does go off, Rose? ROSE Who cares? When we moved in here, we said that whatever happens, happens. Bernard sets down the twigs, leaning in towards Rose. Come on. worried? BERNARD You're not a little bit

ROSE Of course I am. I'm worried that one of these days, my cancer will come back. I'm worried that one of those polar bears is gonna come out of the jungle and eat us. (A beat, then:) But I've got faith that whatever happens, we're gonna be OK. I thought you did, too. Bernard nods to himself, picking up the sticks and trying to light a fire again. After a few strikes, he produces a spark, and a small fire lights under the pot. BERNARD Got it! ROSE You always do. (CONTINUED)

10. 7 CONTINUED: Rose gets up, lifting up the water pot and motioning for Bernard to follow her. ROSE (CONT'D) That water's gonna take a while to boil. You wanna get that water? BERNARD Sure. Doesn't matter if the camp burns down. ROSE Come on, Bernard. We'll bring the dog. Bernard nods, getting up and following Rose from the camp. Vincent gets up, following them eagerly. 8 INT. SAWYER'S HOTEL ROOM – NIGHT 8 7

JAMES “SAWYER” FORD lies on the bed in his room, staring up at the ceiling and thinking when there is a knock at the door. He looks over, then gets up and shuffles over to answer it to find Hurley standing in front of him. SAWYER What do you want, Hugo? HURLEY Good to see you, too, dude. Sawyer motions Hurley to come into the room, then shuts the door behind him as he enters. HURLEY (CONT'D) So, Jack and I came up with a plan for getting on the plane. SAWYER Get a ticket, check your bags, and board the damn aircraft. What else do you need to know? (CONTINUED)

11. 8 CONTINUED: HURLEY Well, you know, there might be some problems. Like, Kate just got arrested. SAWYER What? HURLEY She's a fugitive. Guess they found her. Sawyer looks at Hurley in disbelief for a moment, then goes to his bed, picking up his jacket and heading for the door. SAWYER Why don't you tell me all about this plan while we get a drink? Hurley looks at Sawyer quizzically for a moment, then nods, allowing Sawyer to leave the apartment before heading out himself. 9 INT. SYDNEY BAR – FRONT BAR – LATER 9 8

Hurley and Sawyer walk into the bar, nearly empty save a few PATRONS and the BARTENDER. SAWYER Lemme use the bathroom, then we'll talk. Hurley nods, allowing Sawyer to head to the restrooms while he heads over to the bar, taking a seat. The bartender walks over to him. BARTENDER What can I get for you, sir? WOMAN (O.S.) Get him a screwdriver on me. (CONTINUED)

12. 9 CONTINUED: 9

Hurley turns around to find LIBBY sitting down the bar from him, smiling, pretty drunk. He stares at her in shock as she extends her hand. LIBBY (CONT'D) Libby Smith. Hurley puts his hand forward awkwardly, shaking Libby's limply. HURLEY Hugo Reyes. LIBBY It's nice to meet you, Hugo. (A beat, then:) You look familiar. The bartender hands Hurley a drink, but he ignores it, his interest piqued by Libby's comment. HURLEY Yeah? LIBBY Yeah, my ex-husband had hair just like yours. HURLEY Oh . . . cool. (A beat, then:) What was his name? David. Oh. LIBBY He died a few years ago.

HURLEY I'm sorry.

Libby pounds down the remains of her latest drink, then looks back over at Hurley. (CONTINUED)

13. 9 CONTINUED: LIBBY (CONT'D) Yeah. Didn't really take it well. I had one of those . . . breakdowns that you hear so much about. (A beat, then:) Anyways, they let me out of the hospital a few weeks ago, and I thought I needed to get away for a bit. Find myself. Hurley now remembers where he knows Libby's from. And off of this realization of the connection they share HURLEY So . . . what happened? LIBBY Didn't take. Maybe I need more of a shock to my system. (A beat, then:) I don't even know why I'm telling you this. I'm probably just boring you. HURLEY No, you're . . . Libby checks her watch, shocked at the time. LIBBY Oh, my God, it's late! I gotta get going. Got a plane to catch in the morning. Libby gets up, stumbling slightly as she gets off her stool. She walks by Hurley, shaking his hand again. LIBBY (CONT'D) Nice meeting you, Hugo. Yeah. HURLEY Nice meeting you, too. (CONTINUED) 9

14. 9 CONTINUED: Libby heads out, leaving Hurley behind to absorb what just happened. And as Libby leaves the bar, Sawyer re-enters, zipping up his pants as he sits next to Hurley. SAWYER (Re: Hurley's drink) Glad to see you started without me. HURLEY (Distracted) Yeah. SAWYER So, what's your great plan? Hurley turns around, starting to tell Sawyer about his plans with Jack. But before he can start, Sawyer raises a hand to wave the bartender over, signaling the start of the WHOOSH that brings us to: 10 INT. DUMPY BAR - BATHROOM STALL – DUSK – FLASHBACK 10 9

Sawyer sits on a toilet in a damp, old bathroom stall, a blinking light above his head, fully clothed though clearly passed out, slumped against a wall. He opens his eyes, blinking them a few times, disoriented as he looks around the room, taking in his surroundings. He then looks down at himself, surprised at what he sees. He then looks down at his cell phone, taking it out and looking at the screen. It reads “September 16 2004”. Sawyer closes his eyes in realization that Jack's plan worked. SAWYER Son of a bitch. 11 INT. DUMPY BAR – MAIN BAR – DUSK – FLASHBACK 11

Sawyer emerges into the poorly lit bar to find the BARTENDER idly polishing a glass behind the bar, and still sitting directly in front of him, an empty shot glass in his hand: (CONTINUED)

15. 11 CONTINUED: 11

CHRISTIAN SHEPHARD. Just after his talk with Sawyer, just before his death. And now Sawyer remembers where he is, as do fans of the show: this immediately follow Sawyer's heart to heart with Christian in “Outlaws”. Sawyer steps forward into the room, taking a seat in front of the bar just as he was before. It is only when he sits down that he realizes Petula Clark's “Downtown” is playing dimly from the jukebox in the back of the bar. CHRISTIAN I thought you'd left for good. Sawyer looks over at Christian, still in shock at his situation, still in shock over what happened at the Swan site – what happened to Juliet. SAWYER Hate to disappoint, Hoss, but I'm back. CHRISTIAN You had a change of heart? SAWYER You could say that. CHRISTIAN Well, I've had a few changes of heart over the years. Never did me any good. Christian pauses, then pours himself another drink, looking back at Sawyer. CHRISTIAN (CONT'D) But, then, I'm not you. Hell, I don't even know who you are. SAWYER Name's James Ford. I'm from Jasper, Alabama, and I'm a con man. (CONTINUED)

16. 11 CONTINUED: CHRISTIAN You said your name was Sawyer. SAWYER Like I said, con man. Christian appraises Sawyer, then nods, looking back outside the bar. CHRISTIAN Well, I'm not one to judge. I've got just as much reason to be here as you. SAWYER So I've been told. Christian looks back at Sawyer, brought out of his drunken stupor by confusion. Told? CHRISTIAN By who? 11

SAWYER That son you've been talking about. (Off his look:) Jack. I know him. I've known him for three years, and for all of that time, he's had a chip on his shoulder 'cause of what happened with you. (A beat, then:) And now, because of what he did, I know what he went through for all that time. I know what it's like to lose the one person you care about more than anything else. Christian looks over at Sawyer, unable to believe what he's saying, but connecting to his story at the same time.


17. 11 CONTINUED: SAWYER (CONT'D) See, and I always thought that's the way things happen. What's done is done. But now . . . here I am. Sawyer looks up at Christian, tears welling faintly in his eyes. SAWYER (CONT'D) And I don't know what to believe now. Christian meets Sawyer's gaze, the ghosts of tears welling in his eyes as well. CHRISTIAN You know my son? SAWYER I'd reckon he wants that phone call, too. CHRISTIAN If what you say is true . . . why are telling me this now? Sawyer pauses, getting up and putting some money on the bar. SAWYER Because I'm starting to think your boy was right. Christian looks back at the phone for a good long moment, but then looks back at Sawyer. I can't. I am. CHRISTIAN It's not the kind of man 11

SAWYER Figured you might say that. (CONTINUED)

18. 11 CONTINUED: 11

Christian turns back to the bar, picking up the bottle once more to pour another shot. Suddenly, Sawyer leans in, taking the bottle out of Christian's hand and putting it at the back edge of the bar. Christian looks up at him questioningly, but Sawyer simply shakes his head. SAWYER (CONT'D) I wouldn't. Christian looks up at Sawyer for a moment, then nods slowly, somehow understanding Sawyer's words. Sawyer then moves to the door, stopping as he reaches it. He fishes into his pocket, taking out a small PISTOL. He stares down at it for a moment, considering the choice he is about to make, then takes the gun apart, removing the bullets one by one and tossing them into the trash bin by the door. Sawyer then leaves the bar. END OF ACT ONE

19. ACT TWO 12 EXT. SYDNEY AIRPORT – MAIN TERMINAL – MORNING Cars pull up to the sprawling Sydney airport as airplanes take off overhead. 13 INT. SYDNEY AIRPORT – INTERNATIONALS TERMINAL – MORNING 13 12

Jack walks through the airport, dressed in his black suit, heading straight for JIN KWON and SUN KWON, who sit together on a bench. They rise, greeting him warmly. SUN Hello, Jack. JACK Hey, Sun. Jack. SUN How are you doing? Did everything work out withJACK I'm fine. I got it taken care of at the check-in. Sun nods, placing her hand warmly on Jack's arm. After a moment, Jack hears the distinct barking of a dog behind him. He turns around to find VINCENT running right towards him, jumping up and resting his paws on Jack's shoulders. Vincent! JACK (CONT'D) Hey. Jin. JIN

A few yards behind Vincent, MICHAEL DAWSON runs forward, carrying a leash in his hand and looking hassled. Vincent! MICHAEL Come here, boy. (CONTINUED)

20. 13 CONTINUED: Michael reaches Vincent, putting his leash back on his collar and getting him off of Jack. MICHAEL (CONT'D) Sorry about that. It's my boy's dog, he gets pretty excited when there are a lot of people around. JACK No, it's fine. MICHAEL It's weird. Like he knows you or something. Jack looks at Michael, then down at Vincent. The labrador looks up at him, panting brightly. A moment later, however, Jack looks back up at Michael, shrugging his shoulders. JACK Labs are just friendly, I guess. MICHAEL Guess so. (A beat, then:) Well, have a good day. Yeah. JACK You, too. Jack turns around to face Jin 14 13

Michael and Vincent head off. and Sun. 14 EXT. JUNGLE – PATHWAY – DAY

Rose and Bernard walk through the jungle, Rose carrying the water bucket. Bernard turns around to see Vincent a ways behind them, sniffing at something. Vincent! BERNARD Hey, Vincent! (CONTINUED)

21. 14 CONTINUED: 14

Vincent looks up at Bernard, then trots forward obediently. Bernard turns around to catch up with Rose, but before he can reach her, there is a BRIGHT WHITE FLASH, just like when Juliet detonated Jughead, that fills the entire screen for several moments. But as the white clears, we FADE TO: the same exact scene. Rose and Bernard look around the jungle, trying to discover the source of the light. ROSE You see where that came from? BERNARD No. (A beat, then:) You think it has something to do with Jack's bomb? ROSE (Matter-of-fact) Probably. And, without another word, Rose continues on her way. Bernard looks after her for a moment, then jogs forward, frustrated. BERNARD So, what, you're just gonna keep moving? ROSE We seem to be fine. What else can I do about it? Bernard sighs heavily, then follows Rose. has disappeared. 15 EXT. CAVES – A LITTLE LATER Rose and Bernard emerge from the jungle and head into the (CONTINUED) Vincent, however, 15

22. 15 CONTINUED: rocky caves, heading straight for the waterfall. the bucket in, filling it up with water. BERNARD Hey, have you seen Vincent? ROSE Must have run off. (Off Bernard's look:) He'll find his way back. He's done it before. No. Bernard nods, taking the full bucket from Rose and heading out from the caves. 16 INT. EDWARD MARS' CAR – MORNING 16 15 Rose dips

Edward Mars drives KATE AUSTEN, handcuffed, to the airport. MARS You know, I was just starting to lose hope on ever finding you, Katie. But then we got a call from Ray Mullen, and there we go. KATE Just make sure he gets his reward. Mars looks over at Kate in disbelief, then laughs to himself, keeping his eyes locked forward on the road. Kate, too, keeps her eyes ahead, towards the airport, towards Flight 815. And from her look, the WHOOSH starts up again, and we're now taken to: 17 INT. SYDNEY BAR – FRONT BAR – NIGHT – FLASHBACK 17

Kate sits alone at the bar, twirling a single drink in her hand, deep in thought. VOICE (O.S.) Jack and Coke, please, and make it strong. (CONTINUED)

23. 17 CONTINUED: 17

Kate turns to see Christian Shephard sitting a few seats down from her, taking his drink and cradling it to himself. He catches her eye, nodding to her and raising his glass. CHRISTIAN (CONT'D) To the lights of Sydney. And Christian takes a big gulp from his drink, grimacing as he downs it. Kate looks over at him, shocked to see him. CHRISTIAN (CONT'D) You got a name? KATE Kate. CHRISTIAN You want to keep a sad, old man company, Kate? Kate nods, taking a seat next to Christian. CHRISTIAN (CONT'D) You know, after what happened to me a few nights ago, I told myself I'd never wind up in a bar again. KATE Why's that? CHRISTIAN Because I was gonna try and become a better person. Stop drinking. Start talking to my family again. (Off Kate's look:) See, a couple nights back, this man comes across me. Con man, says he knows my son. Then he tells me to call him, work things out. (Off Kate's look:) We've got some issues. (CONTINUED)

24. 17 CONTINUED: KATE No, that wasn't it, I . . . the man who talked to you. Why'd he tell you all that? CHRISTIAN 'Cause he was at the end of his rope. Said he had just lost everything. And now Kate knows Sawyer's real feelings – he was truly in love with Juliet, and was ready to do anything from her. And Kate doesn't seem jealous, or upset about that. She's RELIEVED. CHRISTIAN (CONT'D) 'Course he was right. In times like these, you gotta count on the people who care about you. Christian polishes off his drink, shaking his head morosely. CHRISTIAN (CONT'D) (To himself:) But I'm weak, and the only time I'd get the stones to call my son . . . is when I'm drunk. Christian's pounds his glass down on the table, awash in his sorrows. But Kate is now thinking of her own feelings for Jack, of her need to express them before it's too late. And so she looks at Christian, smiling faintly. KATE It's never too late. Christian looks up at Kate, returning her smile, but then clutching his chest faintly. Kate leans over to him, concerned. KATE (CONT'D) Are you OK? (CONTINUED) 17

25. 17 CONTINUED: CHRISTIAN Just heartburn. I'll be fine. Christian sets some money on the bar, then gets up. CHRISTIAN (CONT'D) Nice meeting you, Kate. And Christian heads out from the bar, leaving Kate alone to think about what he's said. And off her pensive look, the WHOOSH returns, and we're brought back to: 18 INT. SYNDEY AIRPORT – BENCHES – MORNING 18 17

The Marshal sits with his Halliburton case, awaiting the call for his flight's departure. Kate sits beside him, her handcuffs hidden. MARS Got us on the first flight possible. Oceanic 815, leaves in a couple hours for LAX. Kate remains silent, looking around at the people walking by, when her eyes suddenly find CLAIRE LITTLETON. Walking through the hallway, ticket in hand. And as Kate's eyes find her, Claire turns, noticing Kate as well. These two women are literally feet apart, and yet there is an impassable gulf that separates them from saying all that they want to say to each other. But as Kate looks over at the Marshal, who is distracted by a newspaper, she throws caution to the wind. Seizing her opportunity, she subtly nods to Claire, inviting her to come over. Claire walks over to Kate cautiously, reaching her within seconds. CLAIRE Kate? (CONTINUED)

26. 18 CONTINUED: Mars whips around, noticing Claire and Kate. jumps up, standing between the two women. MARS (To Claire:) Miss, you need to back away, this woman is very dangerous. Kate tries to duck around the Marshal to talk to Claire. KATE Claire, whatever happens, you can't remember who I am! You have toMARS (To Kate:) Shut it! Mars tries to block Kate from Claire, forcing his arm over her mouth, but Kate elbows it away, shouting at Claire as she backs away nervously. KATE You have to pretend not to know me! Forget everything I've told you! Claire, you have to lieMars now elbows Kate in the face, knocking her back across the bench. As he moves in to grab Kate and lift her up, he turns to Claire apologetically before marching Kate off. MARS (To Kate:) Come on! The Marshal drags Kate off, away from Claire. As he pushes her down the hallway, drawing everyone else's gaze to them, he leans in, whispering to Kate. MARS (CONT'D) What the hell was that about? You trying to make a scene? (CONTINUED) 18 He immediately

27. 18 CONTINUED: KATE Just get me on the flight. MARS I don't think so. I'm keeping you here until you tell meKATE I'll tell you whatever you want in Los Angeles, just get me on that plane. MARS Why that plane? What's so special about 815? Kate realizes she's been caught in a lie, and clams up immediately, unable to think of a proper response. Mars picks up on this immediately, moving over to one of the counters. A friendly OCEANIC EMPLOYEE greets him, albeit a little cautiously. MARS (CONT'D) (To Oceanic Employee:) I need Oceanic 815 grounded and all of its passengers and crew kept here for questioning. OCEANIC EMPLOYEE I'm sorry, sir, but that's not possible. Mars whips out his badge, shoving it in the employee's face. MARS I'm a U.S. Federal Marshal. Now, unless you want to start an international incident, you ground that flight. The employee looks at Mars nervously for a moment, then nods. And off of Kate's reaction to this turn of eventsEND OF ACT TWO 18

28. ACT THREE 19 INT. SYNDNEY AIRPORT – BAGGAGE CHECK – AFTERNOON Hurley checks his baggage with a friendly attendant. ATTENDANT And this is for Flight 815? HURLEY (Distracted) Yeah . . . don't worry about it. Hurley turns around to find a jumpy CHARLIE PACE standing behind him, not even noticing Hurley's presence. HURLEY (CONT'D) Charlie . . . Charlie looks over at Hurley, not recognizing him at all. CHARLIE No autographs, mate. Can you just let me up to the counter? Hurley obliges, stepping away and letting Charlie up to the counter. He places his single bag on the counter. ATTENDANT And what flight is this for, sir? Uh . . . 815. CHARLIE 815 to LAX. 19

The attendant nods, taking Charlie's bag and checking it. As she types information into the computer, Charlie raps his fingers impatiently on the counter. CHARLIE (CONT'D) Can you hurry it up? I've gotta, um, use the restroom. (CONTINUED)

29. 19 CONTINUED: 19

Hurley knows exactly what Charlie really wants, and he heads away, unable to listen to anymore. 20 INT. SYDNEY AIRPORT – BAR – IMMEDIATEY FOLLOWING 20

Hurley walks quickly past the bar, and we see Jack speaking with ANA LUCIA CORTEZ as he runs back. And now we CUT TO the pair, already deep in conversation. ANA LUCIA So, that's why you're going back to L.A.? Funeral? JACK That's the plan. And fans of the show now know that this is not the same scene from “Exodus, Part 1”. Things have changed, however slightly. ANA LUCIA Right. (A beat, then:) So, where are you sitting? JACK 23B. 42F. ANA LUCIA Wanna trade?

Jack smiles faintly, then looks down at Ana Lucia's pocket just before her cell phone rings. Ana takes it from her pocket and answers it. ANA LUCIA (CONT'D) Hey, yeah. I'm in Sydney. Hold on. (To Jack:) Sorry, Jack. I've got to talk. We'll have the next drink on the plane, OK? (CONTINUED)

30. 20 CONTINUED: JACK 42F. ANA LUCIA 42F, right. And Jack? part's over. The worst 20

Ana smiles, heading off to answer her call. Jack sits alone at the bar, thinking about what just happened, about what is about to happen. A moment later, he downs his drink, getting up from the bar and leaving quickly. 21 EXT. SYDNEY AIRPORT – FRONT ENTRANCE – A LITTLE LATER Jack heads out of the airport, signaling for a taxi. One pulls up immediately, and Jack hops into it, heading away from the airport. 22 INT. SYDNEY AIRPORT – BENCHES – SIMULTANEOUSLY Sawyer sits newspaper. obituaries; He looks up towards him alone on one of the benches, reading a We see that he is glancing through the one them reads, “Frank Duckett, 46, stroke”. from his newspaper to find Hurley walking nervously. HURLEY Can we talk? 22 21


SAWYER What's the problem, Michelin? Hurley sits down, breathing deeply before speaking to Sawyer. HURLEY I'm not sure about this, Sawyer. (Off Sawyer's look:) I mean, if we go back, Libby, Charlie, all of them die. And that's, like, our fault now. (CONTINUED)

31. 22 CONTINUED: SAWYER If it's meant to happen, it's meant to happen. HURLEY But we could tell them to leave. We could stop everything from happening. Sawyer puts down his newspaper, now looking right at Hurley. SAWYER Why're you telling me all this now, Hugo? HURLEY I just saw Charlie. I mean, first Libby, now . . . I just don't want to be the reason that all of this happens to them. Sawyer pauses, really thinking about what Hurley said. After a moment, however, he turns back over to him. SAWYER You saw Charlie. How'd he look? HURLEY Like Charlie. SAWYER Looking for a fix? (Hurley nods, so:) Back when we were jumping around on the Island, I saw Kate. She was helping Claire give birth. And I wanted to say something, to step out and change something. (A beat, then:) But then Locke . . . he said we needed pain to get to where we are now. (CONTINUED) 22

31. 22 CONTINUED: HURLEY And Locke died, just like Charlie. SAWYER Charlie died on that Island. He also got clean on that Island, met Claire. You want to erase that? Hurley nods, understanding Sawyer's words. He looks up to see JOHN LOCKE wheeling across, looking depressed and helpless. Sawyer follows his gaze, nodding to Locke. SAWYER (CONT'D) Well, there you go. Hurley nods, convinced once more that going to the Island is the best choice. He smiles at Sawyer, picking up his newspaper. HURLEY Thanks, Sawyer. SAWYER Anytime. Sawyer smiles to himself as Hurley looks at the clock above them. It reads 1:08. The WHOOSH starts up once more, and we go to: 23 EXT. SYDNEY BAR – FRONT ENTRANCE – NIGHT – FLASHBACK Sawyer and Hurley exit the bar. SAWYER So, how are we gonna get the pilot to fly to the Island if we aren't getting pulled there anymore? HURLEY Jack's gonna do it. He took some flying lessons, we should be fine. (CONTINUED) 23 22

33. 23 CONTINUED: SAWYER Well, there you go. (A beat, then:) Lemme get a pack of smokes before we head back. Hurley nods, allowing Sawyer to duck into a nearby convenience store. A few moments after he leaves, Hurley notices a figure approaching him. And as the figure draws closer, we see that it is Christian Shephard. HURLEY Dude . . . Christian staggers forward, clearly very drunk. steps away from Christian. HURLEY Look, I'm going back to the Island, OK? You guys can stop coming to me. (Off Christian's look:) You're a ghost. I get it. I'm a ghost. CHRISTIAN Well, OK. A few Hurley 23

Christian nods to himself, going down the street. moments later, Sawyer comes out of the store. SAWYER Let's head out, Hugo.

Hurley nods, following Sawyer down the street and away from Christian. And now the WHOOSH kicks back in, taking us to: 24 EXT. JUNGLE – CLEARING – AFTERNOON 24

Rose and Bernard walk through the jungle, carrying the water back to camp. They come upon an empty clearing, with the exception of a mysterious object A GUITAR CASE. Hurley's guitar case. (CONTINUED)

34. 24 CONTINUED: 24

Bernard walks towards the guitar case, setting down the bucket of water to examine it. As he bends down, he realizes that the case is open. And as Bernard slowly opens the case, he sees that: BERNARD It's empty. ROSE (Re: Top of case) What about that bag in the lining? Bernard now notices a small dark pouch taped to the inside of the case. He takes the bag out, peeking inside before turning back to Rose. BERNARD Nothing in there, either. ROSE Guess one of the Dharma people must have dropped it. Bernard nods, getting up and heading towards the buckets. As he reaches them, a bullet flies through one of them, poking a hole and causing water to spill. BERNARD What the . . . Bernard is interrupted by the galloping of horse hooves as a YOUNGER CHARLES WIDMORE rides into the clearing, followed by another OTHER on horseback. The two surround Rose and Bernard, guns pointed right at them. CHARLES Who the hell are you? BERNARD I'm Bernard, this is my wife Rose. (CONTINUED)

35. 24 CONTINUED: CHARLES What are you doing in our territory? ROSE We were just getting water for our campCHARLES What camp? Bernard and Rose step back a bit, terrified of Widmore's gun. Widmore, however, hops off his horse, heading straight for the two, really studying them and their intentions. After a moment, he turns back to his companion. CHARLES (CONT'D) We're taking them. The Other nods, getting off his horse, moving in to take Rose and Bernard captive. END OF ACT THREE 24

36. ACT FOUR 25 INT. JIN AND SUN'S HOTEL ROOM – NIGHT – FLASHBACK Jin and Sun lie together in bed, Jin across Sun's chest. SUN (Subtitled) She has your eyes. Definitely your eyes. (A beat, then:) You're so good to me. Going along with all this. JIN (Subtitled) Whatever can bring us all together. SUN (Subtitled) I don't deserve you. JIN (Subtitled) Yes, you do. SUN (Subtitled) Are you glad that things turned out the way they did? JIN (Subtitled) Absolutely. Sun smiles, bringing Jin in for another kiss. 26 EXT. SYDNEY STREET – NIGHT – A LITTLE LATER – FLASHBACK 26 25

Sun and Jin stroll arm-in-arm through the street, admiring the beauty around them. (CONTINUED)

37. 26 CONTINUED: SUN (Subtitled) It really is beautiful here. When all this is over, we should come back here. JIN (Subtitled) It is very nice. Sun and Jin suddenly come upon a figure lying in the entrance to a nearby alleyway. They walk forward a bit, and we now see that it is CHRISTIAN SHEPHARD. Jin looks at him pityingly, but Sun gasps in shock. SUN (Subtitled) That's Jack's father. (To Jin:) Call an ambulance! Jin nods, quickly taking out a cell phone and dialing in a number. Sun moves over to check Christian's vitals, sighing in relief to discover that he is still alive. And off of this grim scene, the WHOOSH brings us to: 27 INT. SYDNEY AIRPORT – INTERNATIONALS TERMINAL – DAY Sun and Jin speak hurriedly with Hurley. SUN Grounded? HURLEY We'll just be leaving a little later. The Marshal wants to make sure that nothing's wrong with the flight. SUN But the Island . . . it's always moving. (CONTINUED) 27 26

38. 27 CONTINUED: Hurley looks over at Sun, knitting his brow at this new piece of information. HURLEY What? SUN If the plane leaves at a later time, the Island won't be in the same place. (Off Hurley's look:) When we came on 316, Eloise Hawking told us that. Hurley stares at Sun in shock, then looks away, unsure of what to do next. HURLEY So, how do we know where it's gonna be? Hurley in interrupted by the entrance of Sawyer. SAWYER We've got a problem. Jack's gone. Hurley, Jin, and Sun stare at Sawyer in shock, their plan dissolving immediately. 28 INT. CHARLES WIDMORE'S TENT – AFTERNOON Rose and Bernard are bound and gagged, left alone in Widmore's tent. Rose looks at Bernard worriedly. ROSE They're gonna be back soon. Bernard, I don't know how many times we can tell them that we don't know anything before they lose their patience. (Bernard says nothing, so:) Bernard? Bernard? (CONTINUED) 28 27

39. 28 CONTINUED: Bernard looks over at Rose, his mind set on something. BERNARD I'm gonna get us out of here, Rose. ROSE What? BERNARD When I tell you to run, you run. (A beat, then:) We're gonna make it out of here. I just have to know that you trust me. ROSE Of course. Bernard nods, looking at Rose lovingly. She matches his gaze, but they are interrupted by the entrance of RICHARD ALPERT, who walks into the tent empty-handed. RICHARD Hi. I'm Richard, I wanted to ask you a couple questions. Richard moves over to the two, but Bernard is ready for him, rearing back to attack. RICHARD (CONT'D) Now, first I want you to tell me what you'reSuddenly, Bernard brings his feet out from under him, tripping Richard. As he falls, Richard hits his head on one of the tent poles, knocking himself unconscious. Rose stares forward in shock as Bernard crawls forward to pull a knife out of Richard's pocket and cut himself free. ROSE Bernard . . . (CONTINUED) 28


Rose and Bernard sneak out of Widmore's tent, looking around to make sure the coast is clear. After a moment, they start moving towards the jungle, trying to stay out of sight. They fail. Charles Widmore catches sight of the pair, immediately pulling out a rifle and signaling several of the Others. CHARLES Get them! Rose and Bernard take off into the jungle, trying to dodge the bullets. They just about make it to the treeline when a bullet PIERCES ROSE THROUGH THE LEG. She stumbles, nearly falling down. Bernard turns around, panic-stricken. BERNARD (CONT'D) Rose! Bernard moves back towards Rose to help her up, but before he can reach her, A BULLET GOES RIGHT THROUGH HIS SHOULDER, ANOTHER THROUGH HIS SIDE. Bernard staggers to his knees, reaching Rose to find that she has another bullet wound through her chest. Bernard breathes heavily, looking towards the camp to see several Others advancing. And now, in a feat of strength never thought possible from him, Bernard lifts Rose up, throwing her arm over his shoulder. The two stagger into the jungle. 30 INT. SYDNEY AIRPORT – GATE 23 – AFTERNOON 30

Hurley, Sun, Jin, and Sawyer head to the line gathering in front of the Oceanic desk. STEWARDESS (V.O.) Oceanic Flight 815 to LAX leaving in fifteen minutes. All passengers to gate 23. (CONTINUED)

41. 30 CONTINUED: Jin leans in to Hurley, whispering. JIN What are we supposed to do now? HURLEY I don't know, dude. Maybe we're just supposed to get on and hope for the . . . Hurley looks up at the gate number – 23. image, Hurley suddenly remembers . . . HAWKING (V.O.) Oh, and Mr. Reyes? 31 EXT. BUS STOP – NIGHT – FLASHBACK From “The Equation”, Hawking leaves a final message for Hurley. HAWKING 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. 32 INT. SYNDEY AIRPORT – GATE 23 – AFTERNOON Hurley silently counts something on his fingers, ending right at ten. After a moment, he turns to Jin. HURLEY Dude, give me your phone. JIN What? (CONTINUED) 32 31 And off of this 30

42. 32 CONTINUED: HURLEY Just give me your phone. Jin takes his cell phone out, handing it to Hurley. Hurley takes it, closing his eyes as if praying. A moment later, he opens them, starting to dial a number into the phone. HURLEY (CONT'D) 4 . . . 8 . . . 15 . . . 16 . . . 23 . . . 42 . . . And now we look down to Hurley's phone, and we sees that the cursed Numbers have, in fact, formed a telephone number: 481-516-2342. HURLEY (CONT'D) Come on . . . And Hurley presses SEND, raising the phone to his ear. After a tense moment of anticipation, however, Hurley breaks out into a wide grin. HURLEY Hello? HAWKING (V.O.) Hello, Mr. Reyes. I hope you have something to write with. And off of Hurley's look of amazement END OF ACT FOUR 32

43. ACT FIVE 33 INT. OCEANIC 815 – MAIN CABIN – AFTERNOON The classic boarding of the plane, from “Exodus, Part 2”, all those years ago. CLAIRE LITTLETON tries to push her way though the cabin, carrying the baby that will soon belong to someone else. KATE AUSTEN is lea through the plane in handcuffs, the Marshal right behind her, knowing now of her fate on and off the Island. JAMES “SAWYER” FORD walks on board, angry about Jack's sudden departure, angry about everything that has happened to him in the past few days. CHARLIE PACE pushes his guitar in to a compartment, so far away from his redemption and sacrifice. SAYID JARRAH sits down, forced to suffer the scorn of his fellow passengers, unaware of his eventual fate in allowing the plane to take off. SUN KWON and JIN KWON sit together, reading idly, a connection now fully formed between them. MICHAEL DAWSON buckles his son WALT LLOYD'S seatbelt, and we see a bond that will somehow be repaired by the time Michael dies. KATE'S handcuffs are fastened. SAYID looks at the photo of NADIA, the woman he is to marry, and lose, and find again. SHANNON RUTHERFORD looks, as always, to her brother BOONE CARLYLE for aid. But now HUGO “HURLEY” REYES” is already in his seat, nervously awaiting the upcoming crash. (CONTINUED) 33

44. 33 CONTINUED: 33

The last-minute arrival is now JACK SHEPHARD, who walks on to the plane, arriving in his seat. As he puts his bags up in the overhead compartment, his eyes catch JOHN LOCKE'S. Locke nods at Jack. And Jack nods at Locke, the only one who knows what will transpire between the two, who knows of everything that will happen, and still chooses to do it all over again. And off of Jack's faint smile, the WHOOSH begins once more, taking us to: 34 INT. HOSPITAL – HALLWAY – NIGHT – FLASHBACK Jack walks quickly down the hallway to find Jin and Sun sitting in front of a hospital room. They rise quickly to meet Jack. SUN Hello, Jack. JACK Thank you for being here. SUN Of course. (A beat, then:) He wants to see you. Jack nods, heading into the hospital room. 35 INT. HOSPITAL – HOSPITAL ROOM – CONTINUOUS - FLASHBACK 35 34

Jack enters the room to find his father Christian lying on a plain bed, struggling to breathe. Christian's eyes widen slightly when he sees Jack, and he smiles faintly, barely hanging on. CHRISTIAN Hey, kiddo. Jack steps back a bit, trying desperately to maintain his composure as he steps forward. (CONTINUED)

45. 35 CONTINUED: JACK Hey, dad. Jack takes a seat next to Christian's hospital bed, taking his father's hand lightly. CHRISTIAN I hear the Red Sox have been kicking some ass. Think they might take it this year. Jack laughs lightly to himself, knowing that of course, the Red Sox do win. But it is the meaning behind his father's words that make such an impression on him. JACK How are you feeling? CHRISTIAN Not too good. (A beat, then:) Thanks for finding me. Please. JACK You deserve it. 35

CHRISTIAN No, I don't. You're a better man than I'll ever be, Jack. (A beat, then:) I'm so . . . proud of the person you've become. I'm proud of you. Jack starts to cry, having reached the closure with his father for which he has searched for so long. Christian is now crying, too, even as he fades away. JACK You're a good man, too. CHRISTIAN Well . . . I raised you. (CONTINUED)

46. 35 CONTINUED: CHRISTIAN (CONT'D) I love you, Jack. JACK I love you, too, dad. Christian smiles as his hand goes limp and his heart monitors flatline. And off of Jack's relief, his anguish, his joy at finally finding his father, the WHOOSH returns one final time, taking us back to: 36 INT. OCEANIC 815 – MAIN CABIN – AFTERNOON 36 35

Jack looks out to see the clouds sailing by, then over to see Rose sitting across from him, Bernard right by her side. BERNARD I really have to go to the bathroom. ROSE Just wait another few minutes, dear. It won't kill you. Bernard nods reluctantly, looking over at Rose's necklace. BERNARD You got my ring? Rose smiles, twirling the wedding ring between her fingers. ROSE I always will. Bernard smiles, taking Rose's hand. 37 EXT. CAVES – EARLY EVENING Bernard's pale hand clasps Rose's as the two stagger into the caves, near death. BERNARD Just a little further . . . 37


The sun sets behind the pair as they stagger towards a rocky outcropping. Bernard suddenly reaches into his pocket, taking out the pouch from Hurley's guitar case. ROSE Bernard . . . why are we here? Bernard helps Rose into the outcropping, then takes out the pouch, dumping out the contents onto the rocky surface: A black stone. A white stone. And now we know – Rose and Bernard are, indeed, Adam and Eve. BERNARD You remember those skeletons Jack and Kate found here? ROSE Jack said those were 40 years old. BERNARD Well, what does he know? Bernard uses up the last tiny amount of energy he has left to clamber into the outcropping, lying beside Rose and carefully placing the stones back into the pouch. ROSE You didn't tell me? BERNARD Would we have had a choice? ROSE There's always a choice. BERNARD I know. (A beat, then:) And if I could choose, if I could go back and do everything again, I wouldn't change a thing.

(CONTINUED) 48. 37 CONTINUED: ROSE Me, neither. Bernard leans over, weakly placing a hand on Rose's necklace, on his ring around her neck. And now Rose slips away, dying as she clasps Bernard's hand. Bernard weeps to himself, closing his eyes and allowing himself to die as well. 38 INT. OCEANIC 815 – MAIN CABIN – AFTERNOON Jack gets up from his chair, heading towards the cockpit. A moment later, he is met by Sawyer. SAWYER Where the hell were you? JACK Doesn't matter Sawyer. I'm going to do what we planned to do, soJack turns back around, but Sawyer grabs his arm, turning him around. SAWYER I don't think so. You tell me why you left. Jack pauses, resigning himself to explaining his actions. JACK I didn't want to do this. I wanted to just, and move on with my life. 39 EXT. SYDNEY AIRPORT – FRONT ENTRANCE – DAY – FLASHBACK 39 38 37

Jack leaves the airport, getting into the first taxi he can find. JACK (V.O.) I didn't care about fate, or destiny, or any of that.

(CONTINUED) 49. 40 INT. AIRPORT TAXICAB – IMMEDIATELY FOLLOWING – FLASHBACK Jack sits in the backseat of the cab, thinking about where to go next. JACK (V.O.) And when I was leaving, I knew that fate didn't matter anymore. I had a choice. If I had wanted to leave, nothing would have stopped me. 41 INT. FLIGHT 815 – MAIN CABIN – AFTERNOON Jack finishes his story, his gaze drifting beyond Sawyer. SAWYER So why did you come back? And now we follow Jack's gaze, right over to: KATE. And she looks back at Jack, smiling, in love with him. And Jack smiles right back at her. JACK (To Sawyer:) Because I love her. And choice is sometimes making a sacrifice for someone you love. (A beat, then:) You know that. Sawyer nods, his memory of Juliet's sacrifice rushing back to him. SAWYER Yeah, I do. (A beat, then:) You do what you have to, Doc. Sawyer hands Jack a piece of paper with the coordinates of the Island written on them. Jack takes them, heading back to the cockpit and pinning a fake set of Oceanic wings to his lapel. As he reaches the cockpit, he opens the door and enters quickly. 41 40

(CONTINUED) 50. 41 CONTINUED: They come. 42 JONAH (V.O.) They fight. 42 41

EXT. TAWARET STATUE – BEACH EXTERIOR – DAY – FLASHBACK From “The Incident”, Jacob and Jonah sit on the beach. They destroy. JONAH They corrupt.


INT. OCEANIC 815 – COCKPIT – AFTERNOON Jack moves quickly, knocking out the pilot before he can even see him and taking the controls, pulling out the slip of paper and plugging in new coordinates. JONAH (V.O.) It always ends the same. Jack breathes heavily to himself, trying to pilot the plane to the Island.


EXT. TAWARET STATUE – BEACH EXTERIOR – DAY From “The Incident”, Jacob retorts Jonah's accusation. JACOB It only ends once.



INT. OCEANIC 815 – COCKPIT – AFTERNOON A white light begins to surround Jack as the plane comes back within the Island's radius. Jack closes his eyes, accepting the choice he has made. JACOB (V.O.) Anything that happens before that is just progress.




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