LOST
1X24 / 1X25: EXODUS, PARTS 2 & 3
ORIGINAL AIR DATE ON ABC: 05/25/2005
TRANSCRIBED FROM ABC

Written by DAMON LINELOF & CARLTON CUSE
Directed by JACK BENDER

Transcript by Intrepid
Courtesy of http://anthology.webphilia.com/

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Transcriptionist.

RATING: TV-14-V
HDTV
==========================
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==========================
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==========================
SUMMARY: In retrieving the dynamite, Leslie Arzt dies. Back at the beach,
Danielle kidnaps Claire's baby. Charlie and Sayid set off to get the baby back.
The other survivors migrate to the caves. On the raft, the rescue party
encounters some trouble. Jack and Locke blow the hatch open.
==========================
LOST
1X24 / 1X25: EXODUS, PARTS 2 & 3
==========================



[BLACK SCREEN]

NARRATOR: (v.o.) Previously on "Lost"...



COLD OPEN.

[Scene from 1X01/1X02: Pilot]

[INT. OCEANIC FLIGHT 815 (MOVING) - DAY - FLASHBACK]

(Suddenly, the plane hits some rough turbulence. Numerous people who didn't
fasten their seat belts fly out of their seats and hit the ceiling.)

(People scream at the impact as they hit the floor. The turbulence continues.)

CUT TO:

(The entire tail section is torn from the plane, leaving a gaping hole.)

(People, people in chairs and things not secured down are flying out the exposed
back.)

(The plane is crashing.)




[EXT. BEACH - CRASH SITE - DAY]

(Slow motion. Jack walks through the burning wreckage.)



[EXT. HIGHER GROUND - DAY]

(Sayid holds the transceiver up to his ear.)

SAYID: Mayday, mayday!

DANIELLE ROUSSEAU: (in French) (untranslated)

CHARLIE: That's French! The French are coming! I've never been so happy to
hear the French!

SAYID: (looking around) Does anyone speak French?

DANIELLE ROUSSEAU: (in French) (untranslated)

(Shannon holds the transceiver up to her ear.)

DANIELLE ROUSSEAU: (in French) (untranslated)

SHANNON: I'm alone now. On the island alone. Please someone come. They're
dead. It killed them. It killed them all.

CHARLIE: Guys ... where are we?

SAYID: (v.o.) I found the wire on the beach.



[Scene from 1X08: Solitary]

[EXT. BEACH - DAY]

(Sayid holds the wire in his hand.)

SAYID: (v.o.) I thought it might have something to do with ... a transmission
we picked up on the receiver ...

(He pulls at it and sees that it goes inland.)



[INT. DANIELLE'S SHELTER - NIGHT]

(Sayid is tied to a wire bed frame.)

SAYID: ... with a French woman repeating on a loop for sixteen years.

(Danielle Rousseau steps out from the shadows and into the light.)

DANIELLE ROUSSEAU: Has it really been that long?

SAYID: You.



[EXT. JUNGLE - DAY]

(Danielle gives Sayid a warning.)

DANIELLE ROUSSEAU: Your people -- the ones you're determined to get back to --
watch them closely.



[Scene from 1X10: Raised by Another]

[EXT. CAVES - NIGHT]

(Camera pushes in closer to Claire as she sleeps.)

CLAIRE: (v.o.) I was sleeping and I woke up, and ...

(A man's hand breaks camera frame and covers Claire's mouth. Claire's eyes open
wide.)

(On Claire)

CLAIRE: (crying) ... He was trying to hurt my baby!



[EXT. JUNGLE - NIGHT]

(Hurley talks with Jack about starting a census.)

HURLEY: We gotta find out who everyone is.

JACK: You want to start a census?



[EXT. BEACH - CRASH SITE -- DAY]

(Hurley talks with Locke.)

HURLEY: (v.o.) I interviewed everyone here, at the beach.



[INT. CAVES - DAY]

(Hurley tries to get Jack's attention.)

HURLEY: Jack ...

(Jack looks at Hurley.)

HURLEY: ... One of them isn't in the manifest. He wasn't on the plane.



[Scene from 1X17: ... In Translation]

(Locke turns and addresses the group surrounding Jin.)

LOCKE: We're not the only people on this island, and we all know it!

(He points back to the island.)

LOCKE: They've attacked us, sabotaged us, abducted us, murdered us. Maybe it's
time we started worrying about them!

(Disgusted, Locke turns and leaves.)



[Scene from 1X23: Exodus (1)]

[EXT. BEACH CAMP SITE - MORNING]

(Danielle Rousseau walks through the beach camp.)

SAYID: Danielle? What are you doing here?

CUT TO:

(Danielle talks with Jack and the group.)

DANIELLE ROUSSEAU: When I saw black smoke, that night, they came.

CUT TO:



[EXT. BEACH - BOAT SITE -- MORNING]

(Jack stares at the billowing column of black smoke rising up to the sky. He
and the others stare and watch.)

DANIELLE ROUSSEAU: (v.o.) You have only three choices - run ... hide ...

(On Danielle.)

DANIELLE ROUSSEAU: ... or die.



[Scene from 1X13: Hearts and Minds]
[Voice over from 1X23: Exodus (1)]

[EXT. JUNGLE - THE HATCH - DAY]

(The greenery on the hatch is pushed aside.)

JACK: (v.o.) All I can tell you right now is that we do have a plan.

CUT TO:



[Scene from 1X23: Exodus (1)]

[EXT. JUNGLE - THE HATCH - DAY]

(Hurley stares at the hatch.)

LESLIE ARZT: (v.o.) Yeah, you're going to the jungle and get some dynamite and
blow open a hatch, ...

(Danielle walks up to the hatch and touches it.)

LESLIE ARZT: (v.o.) ... and then you're gonna hide everyone inside. God knows
how long that dynamite has been out there.

CUT TO:



[EXT. BEACH - DAY]

(Leslie Arzt talks with Jack.)

LESLIE ARZT: So, unless you want to blow up, I'm coming with you.



[EXT. BEACH - BOAT SITE - DAY]

(Michael walks over to Jack. They shake hands)

MICHAEL: Good luck.

JACK: Same to you.

(They give each other a quick hug.)

MICHAEL: See you soon.

JACK: (nods) Yes, you will.

CUT TO:

(Jack, Danielle, Kate, Hurley, Arzt and Locke start their trek down the beach.)



[EXT. BEACHSIDE ROCKS - DAY - CONTINUOUS]

(Danielle leads the small group across the rocks.)



[EXT. STREAM - DAY -- CONTINUOUS]

(Danielle leads the group down a path. She moves quickly and efficiently with
no hesitation on where she's going.)



[EXT. BEACH - BOAT SITE - DAY]

(Everyone is giving the raft the final push into the ocean.)

MICHAEL: (shouting) Hey, keep it straight!

MICHAEL: Go, go, go, go!

WALT: (waves) Bye, Vincent!

(They successfully push the raft into the ocean.)

WALT: (waves) Bye, Vincent!

(Michael helps Jin up onto the raft.)

CUT TO:

(The crowd cheers as the raft heads off into the ocean.)

(Camera holds on the raft.)

FADE OUT.
END OF PREVIOUSLY ON



FADE IN.

[CU: THE BABY'S LEFT EYE]

(The baby's eye is open as he cries.)

[EXT. BEACH CAMP SITE - DAY]

(Claire changes her baby's diaper while the baby cries. She's agitated and
tries to calm the baby down.)

CLAIRE: Shh.

(In the background, the long black column of smoke rises up in the air.)

CLAIRE: (o.s.) Come on.

(Charlie runs over to Claire.)

CHARLIE: Claire, everybody's leaving.

CLAIRE: Yeah, well, I can't go anywhere, all right? I've got the baby, and I'm
so tired. I can't carry him. Now he's wet. And there's sand everywhere. I
don't have any more nappies.

(Charlie leans forward to help Claire. He reaches for the baby.)

CHARLIE: Look, why don't you let me help?

(Claire pushes Charlie's hands away and picks up the baby, holding him closer to
her.)

CLAIRE: No! Look, nobody ever taught me how to do this.

CHARLIE: (quietly) Claire, it's gonna be okay.

CLAIRE: Why do people keep telling me that? Are they the ones with a baby?

(The baby continues to cry.)

CUT TO:



[SAYID]

(At another part of the beach campsite, Sayid addresses a small group - two men
and a woman.)

SAYID: We've got to get there before sundown. Once you reach the caves, stay
there. The rest of us will be right behind you.

(Finished, the group leaves with their things. In the background, Charlie walks
up to Sayid.)

CHARLIE: Sayid.

(Sayid turns around to look at Charlie.)

CHARLIE: I need a gun.

(Sayid doesn't answer him. He turns and walks away, heading toward his tent.
Charlie follows him.)

CHARLIE: Look, I know Jack gave them to you. I want one right now. I have to
protect Claire.

(Sayid picks up his things and turns around to look at Charlie.)

SAYID: Rousseau said the others wouldn't be here until nightfall.

CHARLIE: (interrupts) Rousseau is certifiable. What if they show up
beforehand --

SAYID: The last time you handled a sidearm --

CHARLIE: (interrupts) I killed a murderer. I did us all a favor.

SAYID: Charlie, you're emotionally involved. Let me handle the weapons.

(Sayid gathers his things, packing them.)

CHARLIE: You're not here all the time. You can't protect Claire. Look, I need
a gun.

SAYID: If you really want to help Claire, get her packed, carry her child to
the caves. That's what she needs.

(Not liking it, Charlie nods. He turns and leaves.)

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

FAR SHOT: THE BLACK ROCK

(Long green vines grow over the Black Rock, an old wooden frigate. The words on
the back of the ship read:
BLACK ROCK
PORTSMOUTH

(Jack, Locke, Hurley, Leslie Arzt and Kate stare at the ship in awe. It's mere
presence is amazing to them.)

HURLEY: How exactly does something like this happen?

DANIELLE ROUSSEAU: Are you on the same island as I am?

(Jack turns and looks back at Danielle. He heads toward the ship. Kate
follows.)

HURLEY: Well, I guess that explains it.

(Locke follows Jack and Kate toward the ship.)

LESLIE ARZT: Hold on. Hold on. Wait, whoa. Hold it. Wait.

(Jack stops and turns to look back at Leslie Arzt.)

LESLIE ARZT: What are we, a couple miles inland? A tsunami probably swept it
here.

(Danielle turns to leave.)

LESLIE ARZT: Huh? Right?

(Danielle ignores him and walks past him, heading back into the jungle. Jack
sees her.)

JACK: Hey.

(Jack walks toward her.)

JACK: Hey, where you going?

(She turns around.)

DANIELLE ROUSSEAU: Explosives are in the hull of the ship.

(Again, Danielle turns to leave.)

JACK: Rousseau, wait.

(He walks up to her.)

DANIELLE ROUSSEAU: I did what you asked. You need dynamite. You don't need
me.

(Danielle leaves.)

LOCKE: Let her go, Jack.

(Jack turns and looks at Locke.)

JACK: Who's gonna lead us back?

LOCKE: I'll lead us back.

(Confident, Locke heads toward the Black Rock. Hesitant about trusting Locke
with even this much, Jack looks back at the jungle where Danielle disappeared.
He doesn't like it at all.)

JACK: (under his breath) Damn it.

(Jack turns and heads toward the Black Rock.)

JACK: You heard her. Explosives are in the hull. Let's go.

(Jack walks past Arzt.)

LESLIE ARZT: Whoa, whoa, hold on, hold on. I came here to tell you how to
handle dynamite, not explore some ghost ship. You think I'm go -

(Jack doesn't want to hear it.)

JACK: All right, fine, just stay out here.

(Hurley doesn't move. His eyes are glued to the ship in front of him.)

HURLEY: Uh-uh. .. I'm gonna ... stay out here and hang with Arnzt.

(Jack nods. He turns and heads for the ship. Kate follows as she puts her hair
up.)

(Arzt removes his backpack as he watches them.)

(Locke enters the ship through a large hole in the hull. Jack and Kate follow.)



[INT. THE BLACK ROCK - HULL - DAY - CONTINUOUS]

(Locke climbs up the wooden stairs up to the second level of the ship, the old
wooden board creaking under his weight.)

(He bumps into some chains hanging form the ceiling and they clink, startling
him.)

(Jack walks around. He turns his flashlight on for some light as he looks
around.)

(Kate follows Jack and looks around also.)

(Jack steps on something and it crunches.)

(He turns and looks down and finds the foot of a skeleton. He follows the
skeleton's leg up to the side of the ship where someone died, their wrists in
chains attached to the wall.)

LOCKE: Slaves.

(Jack shines the light around them and sees more skeletons attached to the
chains on the side of the ship.)

(Kate looks around.)

(There's a loud metal clunking sound. Jack whirls around and shines the light
on Locke, who is looking at an old rusted piece of machinery.)

LOCKE: This ship must have been en route to a mining colony.

(Jack looks around.)

LOCKE: Probably set off from the eastern coast of Africa. Mozambique.

(Jack looks at the open manacles hanging over the wooden beam. The metals clink
against each other. Kate watches for a moment, then looks around.)

(Jack finds a door.)

(Kate looks around to the side.)

(Locke goes his own way, looking around the room.)

(Jack pushes the door open.)



[INT. THE BLACK ROCK - HULL ROOM 2- DAY - CONTINUOUS]

(The door creaks open. Jack looks inside and sees trunks, more machinery,
chains, ropes and crates - among other things. Jack enters the room and looks
around.)

(Behind him, Kate walks into the room. The old wooden floors creak under their
weight.)

(Jack starts looking at the crates. Kate watches Jack. Behind them, Locke has
entered the room and is looking around.)

(Kate sees something.)

KATE: Jack. John.

(Kate heads over to the crate.)

KATE: Over here.

(Jack shines the light on the crate and sees the black lettering on the side:
EXPLOSIVES.)

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

(Arzt and Hurley are sitting on the grass.)

LESLIE ARZT: And then my third wife, she says -- get this. She says, "I didn't
sign up for this." Now you tell me, what the hell is that even supposed to
mean?

(Hurley doesn't say anything.)

LESLIE ARZT: What, am I boring you?

(Hurley turns and looks at Arzt.)

HURLEY: Huh?

LESLIE ARZT: You know what? I'm -- I'm sorry. I'm sor-- I'm sorry that I'm
not cool enough to be part of your merry little band of adventurers.

HURLEY: What?

(Arzt ties his bandana around his neck.)

LESLIE ARZT: I know clique when I see it. I teach high school, pally. You
know, you people think you're the only ones on this island doing anything of
value. I got news for you. There were forty other survivors of this plane
crash. And we are all people, too.

HURLEY: (shrugs) Oh-kay.

CUT TO:



[INT. THE BLACK ROCK - HULL ROOM 2- DAY - CONTINUOUS]

(Kate grabs a pick axe from off the ship's wall. She intends to open the box.)

KATE: You know what? I can probably get it open if I just --

(Jack stops her from trying to open the box.)

JACK: (quietly) No, no. We should take it outside.

KATE: Why? We don't even know if this --

JACK: We're not prying open a crate that says "explosives" on the side of it
with a pick axe, Kate.

LOCKE: I agree with Jack. We take it outside, open it there.

(Kate puts the pick axe down.)

KATE: Okay.

(She moves to lift the box. Jack stops her again.)

JACK: I got it. Mind showing us the way?

(Jack hands Kate the flashlight. He and Locke reach for the box.)

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

(Hurley sits and listens to Arzt talk.)

LESLIE ARZT: It's not just the teenagers, either. The gym teachers -- you
think they let me sit with them? No, they do not.

HURLEY: Dude, this is all in your head.

LESLIE ARZT: Really? Then you explain to me why Kate gets the best pieces of
wreckage to build her shelter? And the Korean guy -- does he catch fish for
everybody on the island? No, he does not. He doesn't. And some of us have
actually lost weight while we were here. Now, do you mind telling me where
you're hiding the carbs? 'Cause I can't figure --

(Arzt stops talking and looks up. We hear wood creaking. Arzt can't believe
it.)

LESLIE ARZT: What the hell are you people doing?!

(He gets up and heads for the ship just as Locke and Jack are exiting with the
box of explosives.)

LESLIE ARZT: Wait, wait, stop. Stop right where you are. All right, I want
you to put that down carefully. Put it down carefully.

(Jack and Locke start to put the box down.)

LESLIE ARZT: Put it- - gently, gently! Damn it! Carefully. Gently. Gently.

(They put the box down. Arzt motions for them to leave.)

LESLIE ARZT: All right, now get out of there. Get away from it. Come on. Get
out. Move away from it.

(Kate, Locke and Jack move away from the box of explosives. Jack looks at
Arzt.)

JACK: What the hell are you doing - ?

LESLIE ARZT: (interrupts) Shh. Be quiet.

(Jack steps aside. Arzt sighs with exasperation as he heads to the box. He
digs in his pocket for a pocket knife.)

LESLIE ARZT: Oh ...

(He kneels down in front of the box and opens his pocket knife.)

LESLIE ARZT: Do any of you have any idea what happens to dynamite in 90-plus
degree heat? Huh? Do you know?

(Arzt pries open the crate's cover with the knife.)

LESLIE ARZT: Any of you?

(He looks at them. Jack shakes his head, no.)

LESLIE ARZT: It sweats nitroglycerin.

(Arzt removes the cover and sets it aside. Jack looks in the box and notices
the build-up on the outside of the dynamite set, loosely in the packing material
in the crate. He steps closer.)

LESLIE ARZT: Oh ... Whoa, hol -- what are you doing?

(Jack stops.)

LESLIE ARZT: Did I ask you to come closer?

(Quietly, Jack returns to his spot next to Kate. Arzt wipes his hands on his
shirt. He hesitates before reaching into the crate to pick up a dynamite
stick.)

LESLIE ARZT: (lecture mode) Dynamite ... is nitroglycerin stabilized by clay.

(He picks up a dynamite stick gingerly and swallows hard.)

LESLIE ARZT: Nitroglycerin ... (he sighs) ... is the most dangerous and
unstable explosive known to man.

(He looks at them and sighs again.)

LESLIE ARZT: Hey, Kate, give me your shirt.

(She levels him a look - yeah, right -- and doesn't move.)

LESLIE ARZT: Now, princess, give me your shirt. I need to wrap the dynamite.

(Kate unties her outer shirt.)

LESLIE ARZT: Just throw it to me right here. Be careful.

(She removes her shirt as he motions to her.)

LESLIE ARZT: Come on, hurry up.

(Kate tosses her shirt to him. He catches the shirt with one hand.)

LESLIE ARZT: Okay, good. Now back up. Back up. Back up.

(Everyone backs up.)

LESLIE ARZT: Just back up.

(Arzt stands up, carrying the single stick of dynamite.)

LESLIE ARZT: Get out of my way. Any of you ever hear about the guy who
invented nitroglycerin?

(He kneels down carefully and dips Kate's shirt into the mud puddle on the
ground, soaking the shirt.)

LESLIE ARZT: Probably not, because he blew his frickin' face off.

(Arzt starts to carefully wrap the soaked shirt around the dynamite.)

LESLIE ARZT: His lab assistant came into the room, saw that his mentor had
detonated it, and he said, "Huh. I guess this stuff does work."

(He successfully wraps the dynamite in the shirt and sighs with relief.)

LESLIE ARZT: (sighs) All right. (He looks at Jack.) All right, we're not
gonna take any more of this stuff than we need, because nitroglycerin is
extremely temperamental. (He unconsciously motions with his hands.) So we just
--

(The dynamite explodes. The force of the explosion sends Jack, Kate and Locke
reeling backward to the ground. Pieces of Arzt -- flesh, dirt and leaves rain
down upon them.)

(Hurley sits up stunned and looks at the spot where Arzt used to be standing.)

HURLEY: Dude.

FADE OUT TO



[TITLE LOGO: LOST]

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. (SYDNEY) INTERNATIONAL AIRPORT - DAY - JIN'S FLASHBACK]

(Sun opens the plastic CROISSANT SANDWICH container. She picks it up and looks
at Jin. We hear the sounds of airplanes overhead.)

SUN: (in Korean) [subtitled: Do you want it cut in half?]

(Jin looks at her and nods.)

JIN: Hmm.

(Sun cuts the sandwich in half and puts it in front of Jin.)

SUN: (in Korean) [subtitled: Here you go.]

(She accidentally knocks over the cup of coffee on Jin. He stands up, his pants
wet. Sun grabs the nearest napkin and starts dabbing at Jin.)

(In the background, we note that Jeff and Gina are watching Sun and Jin.)

SUN: (in Korean) [subtitled: I'm so sorry! Are you all right?]

JIN: (in Korean) [subtitled: (calmly) I'm all right, I'm fine.]

(He's not angry.)

JIN: (in Korean) [subtitled: Where's the restroom?]

(Sun points.)

SUN: (in Korean) [subtitled: It's over there.]

(Jin turns and heads off in that direction.)

(As he heads for the restroom, we see in the background that Sayid is being
escorted by two security officers.)

SECURITY GUARD: Sorry for the inconvenience.

SAYID: I'm sure you are.

SECURITY GUARD: Sir, your bag was unattended.

SAYID: Am I free to go?

SECURITY GUARD: Yes, sir.

SAYID: Good. I have a plane to catch.

(Sayid grabs his bag and walks away.)

CUT TO:



[INT. (SYDNEY) INTERNATIONAL AIRPORT - DAY - JIN'S FLASHBACK]

(Jin is in the restroom washing the stain off his shirt. Next to him is a tall,
blonde-haired Caucasian man wearing a dark-colored aloha (Hawaiian) shirt.)

(The man finishes washing his hands and checks the paper towel dispenser and
finds it empty. He looks at Jin.)

HAWAIIAN SHIRT: Hey, could you hand me a paper towel there, bud?

(Jin looks at Hawaiian shirt man.)

HAWAIIAN SHIRT: A paper towel. This one's broken.

(Jin realizes that he's talking to him

JIN: Um ...

HAWAIIAN SHIRT: Oh, oh. You don't speak English. Sorry.

(He bows and smiles at Jin. Jin goes back to washing the stain out from his
shirt. Hawaiian shirt man steps out of camera frame.)

(In the mirror's reflection, we see that he appears on the other side of Jin.)

HAWAIIAN SHIRT: (in Korean) [subtitled: Ah. Here's a paper towel ... ]

(Startled by the man's sudden knowledge of Korean, Jin looks up.)

JIN: (in Korean) [subtitled: What?]

(The paper towel dispenser rolls out and Hawaiian shirt man tears the piece off.
He wipes his hands as Jin watches.)

HAWAIIAN SHIRT: (in Korean) [subtitled: I work for ... Mr. Paik.]

(He turns and looks directly at Jin. Jin pulls back, alarmed at the
implications.)

HAWAIIAN SHIRT: (in Korean) [subtitled: Your father-in-law, and employer.]

JIN: (in Korean) [subtitled: You've been following me?

HAWAIIAN SHIRT: (in Korean) [subtitled: (nods) Yes. I know you're planning to
run away. But you're going to take that watch ... to Mr. Paik's friend in
California. You do anything else ... anything ... You will lose her. You are
not free. You never have been ... and you never will be.]

(Jin doesn't say anything. Hawaiian shirt man turns and leaves the bathroom.)

(Jin turns and leans back heavily against the bathroom sinks.)

CUT TO
END OF JIN'S FLASHBACK
RESUME TO PRESENT.



[EXT. OCEAN - THE RAFT - DAY -- PRESENT]

(Standing on the raft, Jin raises his face to the sun, feeling the ocean wind
and breeze on him. The raft bobs on the ocean as they make their way around the
island.)

(Suddenly, Walt sees something and points.)

WALT: Dad, look.

(Michael and Sawyer both turn to look, as does Jin.)

(Over in the distance is a picturesque view of the end of the island - mountains
and ocean separated by a thin line of sand. It's a view that can only be seen
from the ocean.)

MICHAEL: How's a place this big never get discovered?

SAWYER: Don't know. But you could build yourself one hell of a beach resort
right over there.

MICHAEL: Yeah, you build your resort. I'm happy to say goodbye to this place
forever.

(Sawyer turns and goes back to what he was doing. Walt looks at Michael.)

WALT: What about everybody else?

(Sawyer starts singing to himself, "Redemption Song" by Bob Marley.)

SAWYER: (singing softly) ... Redemption song ...

WALT: Think they'll be okay?

MICHAEL: Hope so, buddy.

SAWYER: (singing softly) ... songs of freedom ...

MICHAEL: At least until we can get them some help.

SAWYER: (singing softly) ... Redemption song / is all I'll ever have ...

(With a half-smile on his face, Michael watches Sawyer roll up the rope.)

MICHAEL: You singing Bob Marley?

(Sawyer looks over his shoulder.)

SAWYER: No.

(Michael goes back to whatever it was he was doing. Sawyer looks back at
Michael.)

SAWYER: Why? You like Bob Marley?

MICHAEL: Man, who doesn't like Bob Marley?

CUT TO:



[FAR SHOT: THE RAFT]

(TOP VIEW DOWN of the raft sailing on the ocean. Camera swings around the raft
and pulls away.)



[EXT. BEACH - CAMP SITE -- DAY]

(Open on the ocean's horizon. Camera moves to the right and we see Sun standing
alone on the beach staring out at the ocean in front of her. There's no sight
of the raft; it's long gone. She looks down at her wedding ring, then back out
at the ocean.)

(In the background behind Sun, we see Shannon struggling with holding on to
Vincent's leash, carrying two filled carry-on bags slung over her shoulder, and
pulling one overstuffed luggage in the sand behind her.)

(Vincent barks and pulls on the leash as Shannon struggles to hold on to
everything. In the background, Sayid is walking by. He turns and sees Shannon
struggling. He drops his bag and heads over to her.)

(The carry-on on Shannon's shoulder slips down to her arm and the buckle holding
the overstuffed suitcase together barely keeps everything in place.)

SHANNON: Damn it.

SAYID: (o.s.) Do you really need all that?

(Shannon looks up and sees Sayid walking toward her.)

SHANNON: Yeah, I do.

SAYID: Why do you have to bring so much?

SHANNON: Don't you have a hike to lead?

(Vincent pulls on his leash, causing Shannon to take a step and drop her hold on
the overstuffed suitcase. The clothes spill out onto the sand.)

(Sayid turns and kneels to help pick them up. He sees that it's Boone's
clothes. Shannon drops her bag and reaches over to grab the clothes from
Sayid's hand.)

SHANNON: I'm fine.

SAYID: These belonged to your brother.

(She shoves the clothes back into the luggage. She looks at him. After a
moment, Sayid helps her.)

SHANNON: (explains) I need these things. I can't just leave them.

(Shannon sits down and looks at Sayid. She's barely holding it together.)

SHANNON: What are we doing? Hiding? As if they won't find us. It's just ...
it's too much. (sobs) It's too much.

(Sayid reaches out and smoothes Shannon's hair, cupping her cheek and neck with
his hand.)

SAYID: It won't be too much if I carry it for you.

(Shannon sobs and leans into his caress.)

SAYID: Now come on. I have a hike to lead.

(Shannon wipes the tears from her eyes.)

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

(Hurley is quiet and thoughtful as he sits on a log. Kate appears and takes the
seat on the log next to him. She nudges him gently with her shoulder.)

KATE: You okay?

HURLEY: That was messed up.

KATE: Yeah.

HURLEY: He just ... exploded ... in front of us. He was just trying to help
...

(Kate nods silently. Hurley's eyes shift left and right. He appears to be
barely keeping it together, his mind turning inward.)

HURLEY: This is because I came.

KATE: What?

HURLEY: I'm ... kind of bad luck.

KATE: Hey ... (She puts a hand on his shoulder.) It was an accident.

HURLEY: An 'accident'. Yeah.



[JACK AND LOCKE]

(Jack soaks a shirt in the muddy water. He stands up and heads over to Locke,
who is kneeling next to the box. Jack kneels down on the other side of the
box.)

(They look at the remaining dynamite sticks.)

(Locke reaches in to pick up one of the sticks.)

JACK: Locke. We should think about this.

LOCKE: All right.

JACK: Maybe this isn't the best way.

LOCKE: It's the only way, Jack.

(After a moment, Jack nods. Jack looks down at the dynamite sticks. Locke
nods. Jack picks up the wet shirt and opens it.)

(Locke again gently reaches into the box and carefully takes out a single
dynamite stick. It's one of the cleaner ones. He puts it down on the wet shirt
Jack has on the ground.)

(Locke sighs.)

JACK: How many do we need to blow the hatch?

LOCKE: Two should take care of the hinge.

(Locke takes out a spool of wire from the box.)

LOCKE: Three to be safe.

JACK: Safe?

(Jack starts to wrap the dynamite stick.)

LOCKE: I'm removing the driest pieces to minimize our risk transporting it.

(Jack nods.)

(Locke reaches into the box to take the next dynamite stick. He pauses.)

LOCKE: You ever play "operation"?

(Jack looks at Locke. Locke smiles somewhat.)

JACK: (nods) Sure. "Don't touch the sides."

LOCKE: I -- I always got nailed ...

(Locke gingerly reaches in to pick up the dynamite stick.)

LOCKE: ... on the funny bone.

(There's a tense moment as Locke lifts up the stick of dynamite.)

LOCKE: Bzzzt!

(Jack is startled. He looks unappreciatively at Locke. Locke smiles as he
moves the dynamite stick out of the box to the wet shirt.)

JACK: You like to play games, John?

(Locke looks at Jack.)

LOCKE: (unusually relaxed) Absolutely.

(Camera holds on Jack.)

CUT TO:



[EXT. BEACH CAMP SITE -- DAY]

(The baby is awake in the cradle as Clare puts a bag on the table as she rushes
to pack. Charlie walks up to her.)

CHARLIE: Okay. I know we're in a rush to escape to the caves, so, I solved the
Turnip Head transport issue.

(He shows her the long piece of cloth he has over his shoulder.)

CHARLIE: This is just a blanket from the plane. And then I got this piece of
wood here that goes through this bamboo. There you go.

(Charlie assembles the blanket and bamboo around his shoulder. He presents it
to Claire.)

CHARLIE: It's a bjorn.

CLAIRE: A bjorn?

CHARLIE: Bjorn. It's Dutch for ... uh, "baby carrier."

(Claire picks up the baby out of the crib.)

CLAIRE: Thanks.

CHARLIE: That's okay.

(She trots over to Charlie, reaches up and kisses him lightly on the cheek.)

CLAIRE: Thank you.

CHARLIE: Oh.

CLAIRE: Thanks.

CHARLIE: That's okay.

CLAIRE: Well, let's put him in there.

(Claire holds the baby as Charlie removes the bjorn.)

CHARLIE: Now, it's really -

DANIELLE ROUSSEAU: (o.s.) Sayid!

(Charlie looks up.)

DANIELLE ROUSSEAU: (o.s.) Where is he?

(Danielle rushes over to Charlie and Claire.)

CHARLIE: Rousseau, what --

DANIELLE ROUSSEAU: (urgently) Sayid -- where is he?

CHARLIE: He already left.

DANIELLE ROUSSEAU: I need him now!

CHARLIE: Jack and Kate -

DANIELLE ROUSSEAU: (shouts) There's no time! Where is Sayid?

CHARLIE: All right, just calm down, okay? I'll get him for you. (quietly to
Claire) Stay here, all right?

CLAIRE: Okay.

(Charlie runs off to get Sayid.)

CHARLIE: (o.s.) Sayid!

(Claire turns to look at Danielle.)

CLAIRE: What happened out there?

(The baby starts to wake up.)

(Danielle looks at the baby. She takes a step closer to Claire. Claire steps
cautiously back.)

DANIELLE ROUSSEAU: What is his name? The child. (Claire looks away.) What is
his name?

CLAIRE: (uncomfortably) Oh, I haven't named him yet.

DANIELLE ROUSSEAU: May I hold him?

(Claire steps away from Danielle, looking around and finding that there's no one
nearby. She looks at Danielle.)

CLAIRE: W-Why do you need Sayid?

DANIELLE ROUSSEAU: You don't want me to hold him.

(The baby starts to cry. Danielle continues to walk forward toward Claire and
the baby. Claire continues to back away from her.)

CLAIRE: No, I-I-I just fed him. I don't think it's a good idea, okay?

DANIELLE ROUSSEAU: (intensely) Please.

(She holds out her arms, palms up. Claire stops backing away as she stares at
the four straight scratches on the inside of Danielle's arm.)

(Quick flashes of: [NIGHT] Claire screams wildly and struggles against
Danielle.)

(End of flash. Resume to present.)

(Claire looks at the scratches and remembers.)

CLAIRE: When did I do that?

(She looks at Danielle.)

CLAIRE: Why did I scratch you?

(Claire holds on to her crying baby and backs away from Danielle who continues
to advance.)

(Camera holds on Claire's terrified look.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. (SYDNEY) HOTEL ROOM - DAY - CHARLIE'S FLASHBACK]

(Through the mirror's reflection, we see Charlie hastily searching through his
bags. He knocks the dinner plates onto the floor. He's searching for
something.)

(He looks around and walks over to the dresser and goes through the bits of
paper on the dresser top.)

(He picks up the trash bin and searches through it, tossing pieces of paper all
over the place. He puts the bin down and looks at the bed.)

(He pulls the cover aside and off the blonde-haired woman on the bed. She's
wearing black underwear and a POISON t-shirt. Charlie looks at the sheets,
thinking that it's there. The woman stirs. He looks under the pillows.)

LILY: What's going on?

CHARLIE: Uh ... my flight. My, uh, my flight to L.A. leaves in a couple of
hours, so ...

(He steps into the bathroom. The woman sits up on the bed.)

CHARLIE: ... got to get moving, you know?

(In the bathroom, Charlie finds his little bag of drugs.)

LILY: Uh ... you want to do one more bump for the road?

(He steps back into the bedroom.)

CHARLIE: It's all gone. We did it all last night. (He picks up the champagne
bottle.) I got some champagne.

LILY: You've got to have some left.

(Lily scrambles off the bed and starts looking through the night stand.)

CHARLIE: Mnh-mnh. Nope. It's done. I'll look you up next time I'm in Sydney,
okay? (Charlie starts packing.) I'll, uh ... send you an autographed copy of
my CD, and then you can listen to it whenever you want.

LILY: I don't want your piece-of-crap CD from your piece-of-crap band.

CHARLIE: Last night in the bar you said you were a fan.

LILY: Fine. I'm a huge fan. Drive Through is the best damn band ever. Now
just give me a bump, 'cause I know you got some.

(She walks up to him.)

CHARLIE: Shaft.

(She steps into the bathroom and we hear the clink of various items inside.)

CHARLIE: Drive Shaft.

(Charlie turns his back to the bathroom and takes out the little bag of drugs
from his pocket.)

LILY: (o.s.) What's that in your hand?

(Lily stands in the bathroom doorway.)

(Charlie hides the plastic bag behind his back. We hear the crinkle of the
plastic bag.)

CHARLIE: Nothing.

(She walks up to him.)

LILY: Holding out on me?

CHARLIE: Holding out on you? No.

(She reaches for his hand behind him. Charlie's backed up in the corner.)

LILY: Give it to me.

CHARLIE: Give you what? I'm not holding anything!

LILY: Give it to me!

CHARLIE: I've got nothing in my hand!

LILY: Give it to me!

CHARLIE: Get off!

(Lily knees Charlie in the groin. He pushes her back as he doubles over. She
falls against the wall.)

(Lily grabs Charlie by his shirt and pulls him up to the bed. She wants that
bag of drugs.)

LILY: Get up!

CHARLIE: Get off me!

(Lily straddles Charlie, grabs his hand and they struggle.)

LILY: Let it go! Let it go!

CHARLIE: What are you, crazy? Get off!

(She starts hitting him wildly.)

LILY: Let it go.

CHARLIE: Get off!

LILY: Let it go!

(She screams and hits him.)

CHARLIE: Get off of me!

(Charlie pushes Lily off him and she falls on the floor. In pain, Charlie rolls
off the bed.)

(Lily picks up her bag and starts hitting and kicking Charlie.)

LILY: You're pathetic!

(She grabs a bottle and heads out the door.)

LILY: You're pathetic.

(Charlie falls back on the ground. In his hand, he has a tight grip on the
little bag of drugs.)

(He looks at the bag.)

CUT TO:
END OF CHARLIE'S FLASHBACK
RESUME TO PRESENT.



[EXT. BEACH CAMP - DAY -- PRESENT]

(Charlie runs quickly through the foliage and catches up with Sayid and the
others just as they're leaving camp.)

CHARLIE: Sayid! Sayid!

(Charlie passes the various campers and stops in front of Sayid.)

CHARLIE: Rousseau's on the beach! She needs you.

SAYID: Rousseau? What for?

CHARLIE: I don't know.

SUN: (o.s.) Help!

(Charlie and Sayid look at each other.)

SUN: (o.s.) Help! Someone!

(Charlie and Sayid run back to camp.)



[EXT. BEACH CAMP SITE - DAY -- CONTINUOUS]

(Sun kneels down next to an unconscious Claire. She's holding a white cloth to
the back of Claire's head.)

SUN: (screams) Help! Someone! Help!

CHARLIE: Oh, my God.

(Claire moans. They reach them.)

SAYID: What happened?

(Sun shows them the bloodied cloth.)

SUN: Her head.

(The rest of the crowd has also returned. Charlie runs over to the crib and
finds it empty. He moves the blankets aside, looking for the baby.)

CLAIRE: (groggily) Where's my baby?

CHARLIE: Oh, my God.

(Charlie appears stunned. He backs away from the crib, his arms around his
head. The baby is gone.)

CLAIRE: (groggily) Is he all right?

SAYID: Rousseau. Was she alone?

CLAIRE: Did she take my baby? Did she take my baby?

SAYID: Which way did she go? Claire, which way did she go?

CLAIRE: (crying) I don't know! (screams) She took my baby!

(Charlie has his hands over his mouth. He can't believe this is happening. He
sets his sights on Sayid, who is leaning forward over Claire.)

CHARLIE: This is your fault!

(Sayid turns and looks at Charlie. Charlie swings and punches Sayid in the
face. Sayid takes a step backward from the impact. Claire is crying
uncontrollably.)

CHARLIE: (shouting) You brought her into the camp! If you'd have just given
me a gun --

(Charlie advances, his arm pulled back to punch Sayid again. Sayid grabs
Charlie's throat with his left hand, halting Charlie where he stands.)

SAYID: (clearly) Do not hit me again. If you want to waste time assigning
blame, there's plenty to go around. (Sayid pushes and releases Charlie back and
away from him.) She has a head start. If we leave now, we can catch her.

CHARLIE: How are we gonna do that?

SAYID: Because I know where she's going.

(Charlie turns and looks over at Claire, crying uncontrollably. Sun has a hold
on her.)

CLAIRE: No, please --I want my baby.

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

(Locke lifts up the soaking shirt and squeezes out the excess water.)

(Jack is kneeling in front of the open backpack with the wrapped dynamite. In
the background, we see Kate and Hurley sitting on the log.)

JACK: You can carryall the sticks in my pack. The more insulation we stuff in,
the better.

(Jack takes out a shirt. Locke kneels down and looks at the set-up.)

LOCKE: I think we should split 'em up.

JACK: What?

LOCKE: It's not smart to keep it all together, so we split 'em up. If we need
three sticks to blow the hinge, then we should bring six.

(Kate stands up and approaches them.)

LOCKE: Three and three. Fail safe, just in case one of us ...

(Locke motions with his hand. Jack nods.)

JACK: You and me then.

(Locke shrugs.)

(Kate walks up to them.)

KATE: No, I-I'm taking one.

(Jack looks at Kate and shakes his head.)

JACK: It's not gonna happen. No.

KATE: This is why I came.

JACK: Then you wasted a trip.

KATE: I need to do this.

JACK: Kate, no one owes anyone anything.

KATE: (insistent) I'm carrying one.

JACK: We're done here.

KATE: This is not your decision.

JACK: (firmly) Kate, yes, it is.

LOCKE: (interrupts) We'll draw straws.

(Jack turns and looks at Locke.)

LOCKE: They're coming. We don't have time to argue about who gets to risk
their life, so we'll let fate decide.

KATE: Works for me.

(Jack looks at Kate. He looks over at Hurley.)

JACK: What about you? Want to carry some dynamite, too?

(Hurley doesn't say anything. He stares at Jack.)

JACK: What?

(Hurley points to Jack's back.)

HURLEY: (quietly freaked) You got some ... Arnzt on you.

(Jack glances back and sees the dollop of flesh on his shirt. He sighs.)

SHORT TIME CUT TO:



(Locke holds three small sticks in his hand, showing only the evenly tipped ends
of them.)

LOCKE: Short sticks carry the packs.

(He holds out the sticks to Jack. Jack nods. Locke offers it to Kate. Kate
pulls out a stick.)

(Jack pulls out a long stick.)

LOCKE: Looks like it's you and me, Kate.

(Kate drops the stick as Locke steps away to get the backpacks. Jack shakes his
head. He really doesn't like this.)

(Kate gives him a look and doesn't say anything as she turns away from him.)

CUT TO:



[EXT. THE RAFT (STOCK) - DAY]

(The raft bobs out on the open ocean.)



[EXT. OCEAN - RAFT -- DAY]

(Walt, Michael and Jin stand near the radar screen. Walt is wearing a yellow
life jacket as Michael sets the radar up.)

WALT: So what's this stuff even do?

MICHAEL: Well, the transmitter sends out an S.O.S. in case someone's listening.
And if there's anything out there, we'll see it on this radar screen here.

(Michael looks at Jin and nods. Jin climbs up the mast.)

MICHAEL: Here we go.

(Jin holds the watch in his hand to time it. He points at Michael and he
switches the radar emitter on.)

MICHAEL: Come on.

(Michael walks around the cabin and stands near Jin.)

MICHAEL: Someone find us.

(Walt looks at the screen for a moment, then turns and watches Sawyer, who is
sitting just behind him reading the passenger's notes. Sawyer has his glasses
on and his hair pulled back in a ponytail. The bottle of notes is under his
shoe.)

WALT: Those are all the messages everybody wrote.

SAWYER: Sure are.

WALT: They're private.

(Sawyer looks at Walt.)

SAWYER: (smiling) Yep. (He goes back to reading the note.) I, for one, never
knew how much Tracy missed her hubby and two kids back in Fresno. Yet she's
sleeping next to good ol' Scott to keep her warm at night.

(Sawyer chuckles.)

WALT: That's Steve. Scott's dead.

SAWYER: Whatever. It's a long ride, kazoo. We gotta keep ourselves
entertained. Who the hell is Hugo, and how's he got $160 million to leave his
mom?

WALT: How would you like it if I read yours?

SAWYER: You can't read mine 'cause I didn't write one.

WALT: Why not?

SAWYER: 'Cause the only letter I ever wrote was to the man I'm gonna kill.

WALT: Why are you gonna kill him?

SAWYER: 'Cause I need to.

WALT: Why?

SAWYER: (exasperated) Because.

(Sawyer turns and looks at Walt. Walt falls silent. Sawyer shakes his head and
goes back to reading the note.)

CUT TO:



[EXT. FROM BEACH TO JUNGLE -- DAY]

(The column of black smoke rises up in the air.)

CHARLIE: (o.s.) Are you bloody joking?

(Sayid is running quickly across the beach sand toward the smoke. Charlie is a
couple steps behind him.)

CHARLIE: Why would she go to the black smoke? Isn't that where the Others are
supposed to be?

SAYID: The Others are precisely why she would go there.

(Sayid heads inland through the trees.)

SAYID: Rousseau told us she saw black smoke the day her own child was taken
sixteen years ago.

(Sayid stops running and kneels down in the ground. He pulls out the keys from
his pocket and opens the Halliburton case.)

SAYID: They took something from her. And now she believes she has something
that they want.

CHARLIE: She's making a trade?

SAYID: I believe she is, yes.

CHARLIE: That's insane. She's insane.

SAYID: Don't try to apply reason to her actions. She's a mother who lost a
child -- just like Claire.

(Sayid takes out a gun and holds it out to Charlie handle-first. Charlie takes
the gun, but Sayid holds onto it.)

SAYID: This isn't about revenge. Don't make it personal.

(Charlie nods. Sayid releases his hold on the gun. Charlie stands up and tucks
the gun in the back of his pants.)

SUN: (o.s.) Claire!

(Sayid stands up.)

(Through the trees, Claire finds them. Sun is right behind her.)

CLAIRE: I'm coming with you.

SAYID: That's not a good idea, Claire.

CLAIRE: This is my baby, okay? I let her take him!

(Charlie tries to calm Claire down. He holds her shoulders.)

CHARLIE: Hey, Claire, listen --

(She pushes him away from her.)

CLAIRE: Don't tell me what to do, okay?

CHARLIE: Calm down!

(Claire punches Charlie on his arm.)

CLAIRE: (crying) I am gonna come with you! This is my fault, and I'm coming,
all right? (She hits Charlie.) You can't stop me!

CHARLIE: (softly cooing) It's all right. It's all right, Claire.

CLAIRE: I'm coming!

(She stops crying enough to look at Charlie.)

CLAIRE: Get him back, Charlie. Get Aaron back.

CHARLIE: Aaron?

CLAIRE: Please get him back. Please.

CHARLIE: Claire, I will get him back. Promise.

(Claire cries.)

(FAR SHOT of the small group in the clearing under the trees. Camera rises up
to show the cloud of black smoke rising in the air.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. (SYDNEY) INTERNATIONAL AIRPORT - DAY - MICHAEL'S FLASHBACK]

(Michael and Walt sit in the waiting area. Walt is playing a hand-held game.)

MICHAEL: Hey, you want something to eat?

(Walt doesn't respond.)

MICHAEL: I guess that's a 'no' then.

(Walt continues to play his game. Michael sighs.)

MICHAEL: If you're worried about Vincent, he'll be okay, man. Dogs fly in the
luggage compartment all the time.

(Walt ignores Michael and continues to play the game.)

MICHAEL: All right. I got to call work. (points) Right over there. Don't go
anywhere, okay?

(Michael looks at Walt, but Walt doesn't respond.)

(Michael gets up and leaves.)

(Walt pauses the game and watches Michael head over to the phones. Walt goes
back to his game.)

MICHAEL: (v.o.) (to phone) No, I live in a studio apartment.

SHORT TIME CUT TO:

MICHAEL: (to phone) I got to be out the door in the morning for work by 5:00
A.M. (Michael looks over at Walt sitting in the waiting area.) Who's gonna
watch him? How's he gonna get to school? What's he gonna do after school?
(Michael turns away to focus on the conversation.) I can't do this, Ma. (He
pauses.) You know, I was -- listen, I was thinking, um ... I was thinking maybe
you could take him? (He listens to her response.) Ma, if it's a question of
money, I -- no -

(He sighs and puts his hand over the phone booth, turning his back completely to
the walkway.)

(A man pushes Locke in his wheelchair across the camera frame.)

MICHAEL: (shouts) Then what am I supposed to do with him? He's not supposed
to be mine! This was never part of the plan. (pause) Yeah, I -- thanks a lot.

(Michael hangs up.)

(He takes a moment and covers his eyes with his hand. He grabs his things,
turns around and finds Walt standing just behind him - staring at him.)

(Unsure of how much Walt heard, Michael looks at Walt.)

MICHAEL: (cautiously) Hey, man. I was, uh ...

WALT: (interrupts) I need new batteries.

(Walt looks from his game to Michael.)

(Camera holds on Michael.)

CUT TO
END OF MICHAEL'S FLASHBACK
RESUME TO PRESENT.



[EXT. OCEAN - RAFT - DAY -- PRESENT]

(Michael watches Walt.)

MICHAEL: Hey. Wanna try?

(Michael motions to the rudder.)

WALT: What?

MICHAEL: Come on, come here. You drive for a while.

(Michael stands up.)

WALT: Really?

MICHAEL: Absolutely.

(Walt sits down on the seat next to the rudder. Michael walks around the rudder
and kneels down on the other side.)

MICHAEL: Okay, now look, the most important part of the boat is the rudder.
It's how you steer. Turn it gradually. Nothing sharp, okay? Push it this way.

(Michael helps Walt push the rudder a little. We hear the metal creak. When
they're done, Walt looks at Michael.)

WALT: Where are we going?

(Michael picks up the compass and shows it to Walt.)

MICHAEL: Look. So we're going approximately north by northeast. So hopefully
that puts us into a shipping lane ... or we hit some land.

WALT: What do I aim for?

(Michael looks out. Sawyer is standing on the cabin adjusting the sails. Jin
sits on the cabin roof.)

MICHAEL: (points) See that cloud on the horizon right the?

WALT: Yeah.

MICHAEL: You aim for that.

WALT: Yep. Got it.

(Michael and Walt both turn to look out at the horizon. After a long pause,
Walt turns to look at Michael.)

WALT: How come you and my mom didn't stay together?

MICHAEL: We tried. It just didn't work out. So, our lives, our interests ...
just went in different directions.

(Michael stands up and walks over to the cabin. He reaches into his pants
pocket for something.)

WALT: How come I never saw you?

(Michael turns around and leans against the cabin.)

MICHAEL: 'Cause your mom didn't want me to. She did what she thought was best
for you.

WALT: She was wrong.

(Michael smiles, pleased with the response.)

(Suddenly, the raft hits something and lurches. Michael reaches out and grabs
Walt.)

(The rudder breaks off and falls into the water. Jin runs to the edge of the
raft and points.)

JIN: (shouts) Rudder!

MICHAEL: Hey! We hit a log! We lost the rudder!

JIN: Rudder! Rudder!

MICHAEL: We're losing it! It's sinking!

(In the background, Sawyer removes his shoes.)

MICHAEL: Stop the boat!

VOICE: It won't stop sinking!

(Sawyer continues to remove his shirt.)

JIN: (in Korean) (untranslated)

MICHAEL: Stop the boat!

(Jin heads back to the cabin and climbs on top.)

MICHAEL: Just pull the sail down. Right.

(Sawyer swan dives off the side of the raft and into the water.)

WALT: Dad!

(Michael turns around to see Walt pointing down at Sawyer in the water.)

MICHAEL: Sawyer!

(Sawyer swims out to get the rudder.)

MICHAEL: (shouts) Sawyer! (Michael whirls around to Jin.) Get me the rope!

(Jin throws the rope down to Michael.)

JIN: Rope!

(Sawyer swims out to the rudder. Michael works on the rope while Jin brings
down the sails.)

(Sawyer reaches the rudder and tries to tug it back to the raft, but it's too
much.)

MICHAEL: Sawyer!

SAWYER: It's sinking.

(Michael throws the end of the rope out to Sawyer. With one hand holding onto
the rudder, Sawyer tries to grab the rope with the other hand.)

SAWYER: I can't reach it!

(Michael pulls the rope back onto the raft.)

JIN: (in Korean) (untranslated)

(Michael throws the rope to Sawyer again. This time, Sawyer grabs the rope.)

MICHAEL: Got it?

(Jin motions.)

JIN: (in Korean) (untranslated)

MICHAEL: Tie it around the rudder and we'll pull you in!

(Sawyer ties the rope around the rudder. Floating in the ocean near the rudder
is the thick log.)

(Jin jumps down from the cabin and grabs the end of the rope.)

(Together, Michael and Jin slowly reel in the rudder as Sawyer guides it in.)

MICHAEL: Okay.

JIN: Michael. Michael ... Sawyer (in Korean) (untranslated)

(Michael climbs down one side of the raft to help Sawyer out of the water while
Jin climbs down the other side of the raft to get the rudder.)

(Michael holds out his hand for Sawyer.)

MICHAEL: Come on, buddy.

(He helps Sawyer out of the water.)

MICHAEL: You just saved our ass, buddy.

(Jin pulls the rudder out of the water. Sawyer collapses onto the raft deck.)

(Michael stands up to get Sawyer's shirt and things. He finds the gun wrapped
in the shirt. He looks at it, but doesn't say anything. He covers the gun back
up, turns around and hands it to Sawyer.)

MICHAEL: Here's your shirt. You should put that back on before you burn.

(Sawyer holds the shirt and gun to his chest.)

CUT TO:



[EXT. THE BLACK ROCK (DARK TERRITORY) - JUNGLE -- DAY]

(Holding the backpack, Jack helps Kate put the backpack filled with the dynamite
sticks on. Jack is already wearing his backpack.)

KATE: Sorry.

JACK: Yeah, well ... just luck of the draw.

(Locke steps forward.)

LOCKE: Sun sets in 90 minutes, give or take. We want to get back to the hatch,
we're gonna have to hustle.

JACK: Okay. This is how we do this. I'll lead. Kate, you're right behind me.
Then Hurley. John, you bring up the rear. If you start to see me heading the
wrong way --

LOCKE: (interrupts) We should stagger our formation. Keep a safe distance
from each other.

JACK: (nods) All right. We stagger. If anyone hears anything or sees anything
--

HURLEY: (interrupts) Like a security system that eats people?

JACK: (nods) Yeah, like that. You two, you take your packs off, you put them
down, and you run, you got it?

KATE: Got it.

LOCKE: Yes, sir.

JACK: Okay. Let's do this.

(Jack starts off. Kate follows behind. Silently, Hurley turns and starts off
after Kate. Locke takes up the rear.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. CAVES -- DAY]

(The remaining survivors arrive at the cave. Sun has a supporting arm around
Claire, who is quiet and numb from shock.)

(Shannon arrives at the caves and puts her gear down. She turns and stops as
she looks over at the pallet in the infirmary. Sun heads into the infirmary to
get something. Shannon turns around and sits down on the nearest rock next to
her gear.)

(Getting a bowl, Sun steps out of the infirmary. She pauses as she sees
Shannon. She approaches her.)

SUN: He died bravely.

(Shannon and Vincent turn to look at Sun, who sits down next to her. She puts
the bowl of water down in front of Vincent.)

SHANNON: What?

SUN: Your brother.

SHANNON: Yeah. Thanks.

SUN: Do you think all this ... all we've been through ... do you think we're
being punished?

SHANNON: Punished for what?

SUN: Things we did before. The secrets we kept. The lies we told.

SHANNON: Who do you think is punishing us?

SUN: Fate.

CLAIRE: (o.s.) No one's punishing us.

(They both turn to look at Claire, who stares off in front of her.)

CLAIRE: There's no such thing as fate.

CUT TO:



[EXT. CLIFFS/ROCKS -- DAY]

(The ocean waves crash into the rocks below. Sayid hurries along the edge of
the rocky cliff. He stops and checks on Charlie, who is just behind him.)

SAYID: Are you okay?

CHARLIE: (panting) I'm fine. Keep going.

(Sayid runs quickly. Charlie struggles to keep up with him as they run along
the rocky cliffs.)

CUT TO:

(Sayid turns the corner and continues to run. After a moment, Charlie appears
around the rocky bend.)

SAYID: We're losing the light. Try to keep up.

CHARLIE: (panting) I'm coming.

CUT TO:



[EXT. JUNGLE (BEECHCRAFT SITE) - DAY - CONTINUOUS]

(Sayid runs quickly through the tall grass, heading into the jungle.)

(Charlie runs at a slower pace behind him.)

(The column of black smoke rises in the air and they're closer to it than
before.)

(Sayid continues to run very quickly through the tall grass.)

(Charlie struggles to keep up with him. He's reached a point where he loses
sight of Sayid.)

CHARLIE: Sayid!

(Charlie slows down and stops.)

CHARLIE: Sayid!

(Charlie looks around, unsure of where to go.)

CHARLIE: Sayid!

SAYID: (o.s.) Over here!

(Charlie turns around. He takes a step in the direction where he thinks the
voice was coming from.)

CHARLIE: Sayid?

(Sayid appears. Apparently, he's run back toward Charlie. He removes his
backpack.)

SAYID: You can barely breathe. We're going to rest.

CHARLIE: Rest? She's out there right now -

(Charlie steps out and he sees the fallen Beechcraft airplane.)

SAYID: In another mile, you're going to collapse. We're going to take a break.

(Charlie takes a break.)

CHARLIE: (panting) Is this where Boone fell?

SAYID: The plane was up there.

(Sayid tosses Charlie a large plastic bottle of water. He catches it.)

CHARLIE: Where did it come from?

SAYID: Based on the maps inside? Nigeria.

(Charlie drinks.)

CHARLIE: Anyone on board?

SAYID: Two men dressed as priests.

CHARLIE: Priests?

SAYID: Drug runners in disguise.

(Sayid picks up a Virgin Mary clay statue.)

SAYID: The plane was loaded with heroin.

(He tosses it to the ground and it shatters.)

(Charlie looks at it.)

(Sayid takes a deep breath. He picks up his backpack.)

SAYID: All right ...

(Charlie glances down at the ground. Sayid walks past him, heading out.)

SAYID: ... now we go.

(Charlie looks back at the broken Virgin Mary figure, the little bags of heroine
spilled out on the ground.)

(Camera pushes in on Charlie as he stares at the drugs.)

CUT TO:



[EXT. THE DARK TERRITORY - JUNGLE -- DAY]

(With the stream on the right, the group heads back to the hatch. Jack leads,
Kate follows with Hurley and Locke bringing up the rear.)



[EXT. THE DARK TERRITORY - STREAM / ROCKS/ JUNGLE - DAY -- CONTINUOUS]

(Jack reaches the stream crossing and carefully makes his way over the running
water. He reaches the other side and waits for Kate.)

(Kate crosses the stream.)

(Hurley crosses the stream.)

CUT TO:

(Jack makes his way across the water.)

(Hurley picks up a conversation with Locke.)

HURLEY: So, dude, what do you think's inside that hatch thing?

LOCKE: What do you think's inside it?

CUT TO:

(The conversation continues as they make their way slowly up the rocky path.)

HURLEY: Stacks of TV dinners from the '50s or something. And TVs ... with
cable, some cellphones, clean socks, soap, and Twinkies. You know, for dessert
after the TV dinners. Twinkies keep for like eight thousand years, man.

(Locke just has to stop walking and he chuckles.)

LOCKE: I like Twinkies, too.

(Hurley smiles back at Locke.)

HURLEY: Come on, really, what do you think's inside?

LOCKE: Hope. I think hope is inside.

(Locke turns and resumes following the others.)

CUT TO:

(Jack reaches the top of the hill and slowly makes his way down the side. He
looks back and sees Kate just starting the trek down.)

(Locke reaches the top of the hill and is about to follow Kate down when a loud
screeching noise alarms them.)

(They look up and see a large winged bird flying away up to the sky, the bare
tree branch springing back into place.)

(Everyone pauses.)

(Hurley looks back at them.)

HURLEY: Whoever named this place "dark territory"? ... Genius.

(Kate, and then Locke, resume their way down the side of the hill.)

(Hurley follows behind.)

CUT TO:

(Jack and Kate both reach the bottom of the hillside. Jack looks around. They
hear a scuttling, rattling noise getting louder. Jack turns and through the
greenery, he sees a wisp of black smoke zoom quickly across the clearing and
quickly vanishing into the trees on the right.)

(The scuttling, rattling noise disappears as well. Jack turns and looks at the
clearing. Did she see it? He turns and looks questioningly at Kate.)

KATE: Yeah, I saw it.

(Behind them, Locke and Hurley have both reached the bottom.)

KATE: We got to get out of here.

(Kate and Jack both quickly turn and hurry. Hurley jumps down onto the path and
quickly follows them.)

(Next, we hear the familiar fluttering of wings and screeching sounds that often
precede the creature.)

(Jack and Kate both stop and turn to look back.)

(And then ... silence.)

(beat)

(Suddenly out of nowhere, the trees directly in front of Locke are uprooted as
if something forceful rams into it - the tree trunks go flying upon impact.)

(The creature roars.)

(Not waiting to find out what it is, Kate and Hurley turn and run.)

(Jack carefully removes his backpack, his eyes on the 'invisible' thing
uprooting the trees upon impact - a blur of black, tree, motion and dirt. Jack
puts his backpack down and quickly follows Kate and Hurley.)



(Locke remains where he is, his eyes wide and on the thing in front of him.)

(We hear the familiar creature sounds.)

(Locke removes his backpack.)

(The creature growls.)

(We hear the creature take a step forward. Locke puts his backpack down on the
ground and heads toward the creature. We hear low rumbling and the other sounds
usually associated with the island monster.)



(Kate, Hurley and Jack are running away from the creature.)

(Jack stops and turns around to check on Locke. We hear the creature stomping
sounds. Jack sees Locke walking toward the creature.)

JACK: (shouts) Locke, what are you doing?!

(The creature sounds continue. Jack hesitates; his instinct is to run. He
looks back at Kate and Hurley. Instead, he runs after Locke.)

(The creature sounds continue - stomping, growling, low-rumbling.)

(Locke peers out from behind one of the trees.)

(We hear the creature screeching and thumping. The low-rumbling sound and
stomping continues.)

(Locke steps closer, looking around for a visual sign of the creature.)

(We hear the creature stomp and screech. Locke steps out from the trees.)

(Jack heads back, looking for Locke.)

JACK: (shouts) Locke!

(Locke remains silent as he steps closer toward the creature sounds. We hear
the low-rumbling and breathing sounds.)

(Locke looks around and doesn't see anything.)

(Suddenly, the tree right next to Locke is pulled out by its roots, sending
Locke backward to the ground. Locke covers his eyes with his arms.)

(Jack sees Locke in trouble.)

JACK: (shouts) Locke!

[CREATURE POV]

(Locke slowly puts his arms away from his face. The creature zooms up to Locke
and roars. Locke looks directly at the creature, perhaps hoping to see the same
thing he saw before.)

(Camera holds on Locke's look of sheer terror.)

FADE OUT.

(The creature's roar echoes.)

(COMMERCIAL SET)



FADE IN.

[EXT. THE DARK TERRITORY - JUNGLE -- DAY]

(CU: LOCKE)

(Locke looks terrified. The creature roars. Locke turns and rolls out of the
way.)

(Suddenly, he's running ... away from it as fast as he can. The creature roars.
Locke glances back at it over his shoulder.)

(Locke runs into the clearing.)

(Jack sees Locke and heads over to him. The creature growls.)

JACK: Locke!

(Jack looks for Locke.)

JACK: Locke!



[KATE AND HURLEY]

(Meanwhile, Kate and Hurley are running away from the creature. Kate stops and
looks back, expecting to see Jack, but finds that he's not there.)

KATE: Jack?

(The creature shrieks.)

KATE: Jack!

(Kate turns and heads back to find Jack.)



[LOCKE AND JACK]

(Locke runs frantically away from the creature. We hear the sounds of gears
clicking grow louder and louder. Locke glances back over his shoulder as he
runs.)

(Suddenly, something grabs Locke by the ankle. Locke trips and falls to the
ground, grunting on impact.)

LOCKE: Aah!

(The creature drags Locke through the dirt path. Jack runs back to Locke. He
stops and sees Locke being dragged backward by something wrapped long, thin and
black - a blur that moves quickly as it pulls Locke toward it.)

JACK: Locke!

(The gears continue to click. Jack runs after Locke, who is helpless as he's
being dragged backward through the dirt path by some unseen force.)

LOCKE: Aah! Ah!

(The gear-clicking sounds get louder and louder. Jack runs as fast as he can to
catch up with Locke. He jumps and dives at Locke - the thing is now pulling
both Jack and Locke down the path, its strength unhindered by the weight of both
men.)

(The gear-clicking sounds continue.)

(Suddenly, the ground under them gives way. The thing is pulling Locke down
into the hole. Jack braces his legs on both sides of the hole, his double-armed
grip on Locke secure.)

(We hear the creature's low growl and stomping in the background. Whatever has
a hold on Locke hasn't let him go. It takes all of Jack's strength to keep
Locke's head above the ground.)

(In the background, Kate arrives. She looks at them.)

KATE: Oh, my God.

JACK: (to Kate) I need the dynamite.

(Kate sits down and starts removing her backpack.)

JACK: No, no! It's in my pack.

(Kate glares at Jack, but now isn't the time.)

JACK: (shouts) Just go get it! Hurry! Go!

(Kate gets up and runs to get Jack's backpack.)

JACK: (panting, gasping) All right, John. (panting) John.

(The creature under Locke growls. He looks down. It takes all of Jack's
strength just to keep a hold on Locke ... and Locke isn't helping.)

JACK: John.

LOCKE: Just let me go.

(Locke lets go of his hold on Jack's arms. Now it's only Jack's hold on Locke
that's keeping Locke above the hole.)

JACK: What?

LOCKE: I'll be all right.

(Jack struggles to keep a hold on Locke.)

JACK: No! Dammit!

LOCKE: Let me go. I'll be all right.

(Jack shakes his head. Kate returns with the backpack.)

KATE: Okay, I got it. I got it.

(She puts the backpack down.)

JACK: Be careful unwrapping it.

(She opens the backpack and takes out a stick of dynamite.)

KATE: All right.

JACK: Now, throw it in.

(We hear a hissing sound.)

LOCKE: No!

KATE: It'll blow us up!

JACK: Just do it! Hurry! I can't hold him.

LOCKE: Don't do this, Kate.

JACK: Throw it in! (shouts) Now, Kate!

(Kate grunts and throws the dynamite into the hole. Locke and Jack turn their
heads and shut their eyes as they wait for the explosion. Kate covers her head
with her arms.)

(The creature stomps.)

(The dynamite explodes.)

(We hear the sound of the creature roar.)

(A cloud of black smoke rises out of the hole. It appears to dissipate
outward.)

(Jack watches with disbelief as he sees the black smoke suddenly turn and zoom
away. The creature's roar echoes. We hear the lingering sounds of wings
fluttering.)

(Kate and Jack stare at where the black smoke used to be.)

(Locke groans. Kate turns to help Jack pull Locke out of the hole. The three
of them collapse onto the dirt pathway - panting, exhausted.)

(Jack looks at Locke. He turns and looks back at where the black, smoke-like
creature used to be.)

(Camera holds on Locke.)

CUT TO:



[EXT. OCEAN - RAFT (STOCK) - LATE DAY]

(The day is nearly at an end. The raft sails off in the direction of the
setting sun.)



[EXT. OCEAN - RAFT - LATE DAY]

(On the storage box, Michael finds Jin's watch and booklet near the fishing net.
He picks up the booklet and walks over to Jin, who is fixing the rudder.)

MICHAEL: Hey. Your wife -- wife make this for you?

(Michael shows Jin the notebook.)

(Jin nods.)

JIN: Sun.

MICHAEL: She sounded it out, huh? So you could learn English.

JIN: Yes.

MICHAEL: Yeah, I wish she made one for me. So, what words are in here? (He
points at Jin.) English words. What can you say?

JIN: Ahh. Um ... uh ... 'starboard'. 'Aft'. Uh, 'port'.

MICHAEL: Hmm.

JIN: Uh ... 'sail'. (They look at the sail where Sawyer and Walt are.) Uh ...
'eat'.

MICHAEL: (chuckles) Yeah. She did you well. Hope you know how lucky you are,
man.

(Jin finishes attaching the rudder back onto the raft. He sighs.)

MICHAEL: Back in business?

(Jin nods and slaps his palm against the steering rig.)

MICHAEL: All right-y.

(Michael stands up and puts the notebook back on the cabin where he found it.
He sees Jin's watch. He hands it to Jin.)

MICHAEL: Oh, hey. Yours.

(Jin takes the watch and looks at it. Somehow everything it used to represent
as being important to him, no longer is -- there are other, more important
things.)

(Jin stands up and walks over to Michael.)

MICHAEL: (muttering to himself under his breath)

(Jin holds out the watch to Michael.)

JIN: You.

MICHAEL: (surprised) What?

(Jin takes Michael's hand and puts the watch in his palm. He closes Michael's
fingers around the watch. It's unmistakable - Jin is giving Michael the watch.)

JIN: (firmly) You.

MICHAEL: (touched) Um ... Thank ... you. Thanks.

(Satisfied, Jin nods. He walks back to the rudder. We hear the sound of
Michael putting the watch on. Michael turns and steps out of camera frame.)

CUT TO:



[INT. CAVES -- DAY]

(Claire sits quietly in the cave. Sun walks up to her holding a coconut shell
used as a drinking cup.)

SUN: I made you some tea.

(Sun offers it to Claire. Claire barely looks at it.)

CLAIRE: (shakes her head) I'm fine.

(Sun looks at the shell. Claire looks up and knows that she's being rude. She
accepts the tea.)

CLAIRE: (nods) Thanks.

(Claire takes the cup and stares at it for a moment.)

SUN: 'Aaron' is a beautiful name. What does it mean?

CLAIRE: I don't know what 'Aaron' means.

(Sun looks at Claire. She can see Claire is hurting and thinking the worst.
Claire takes a sip of tea. Sun looks out in front of her trying to think of a
way to help Claire.)

SUN: They will bring him back.

CLAIRE: Don't say that.

SUN: (looks at Claire) They will.

CLAIRE: How do you know that?

SUN: (firmly) Because he said he would.

(Claire doesn't say anything.)

SUN: Charlie will bring your baby back.

(Camera holds on Claire looking at Sun, desperately wanting to believe.)

CUT TO:



[EXT. JUNGLE - LATE DAY]

VARIOUS CUTS OF SAYID AND CHARLIE RUNNING

(Sayid and Charlie are running through the tall jungle grass.)

(Sayid stops between a couple of trees. There in front of them at the base of a
tree on a pile of dry branches and leaves is Aaron's baby blanket. It looks
like it's wrapped around something that's not moving.)

(Sayid looks at it suspiciously. Charlie sees the blanket and gets excited.)

CHARLIE: There!

(Charlie pushes past Sayid and hurries over to the baby blanket.)

SAYID: Charlie, wait!

(Charlie grabs the baby blanket and finds a log wrapped inside.)

(Sayid looks up and sees a heavy netting filled with rocks and stones hanging
directly above Charlie. The line holding the netting snaps releasing the
rocks.)

SAYID: Charlie!

(Charlie looks up. The rocks hit Charlie in the head, knocking him down.)

CHARLIE: Aah!

(Sayid runs over to Charlie.)

SAYID: Hey, let me see.

(There's a large gash above Charlie's left eye, the blood spilling into his eye
and down his face.)

CHARLIE: I'm bleeding!

SAYID: We need to put pressure on it.

(Sayid removes his backpack. Charlie puts his hand over his cut and presses
down on it.)

CHARLIE: Okay. Pressure.

(Sayid opens his backpack and takes a white cloth out.)

CHARLIE: Ow!

SAYID: Put that there.

(He hands the cloth to Charlie, tucking it under his hand and over the bleeding
cut.)

CHARLIE: Animal! What is she --

SAYID: (interrupts) Keep the pressure on, like this.

(Sayid presses down hard on the cut.)

CHARLIE: Aah! Ow! Ow!

SAYID: She's been here for sixteen years. She's learned how to set traps
quickly. Okay, let's have a look.

(Sayid pulls the cloth away from the cut to look at it.)

SAYID: It's too deep. It's bleeding too much. You're going to have to go
back.

CHARLIE: No, I'm not going back! You're gonna have to fix it!

SAYID: I'm not a doctor.

CHARLIE: You're a soldier. What do people do when they get wounded?

(Sayid doesn't say anything.)

CHARLIE: I'm not going back without that baby, Sayid.

(Sayid looks at Charlie. He nods.)

SAYID: Don't move.

(Sayid goes back to his backpack and takes out the gun. He removes a bullet
from the clip. He takes out a pair of pliers from his backpack and twists the
cap off the bullet. Charlie watches him.)

CHARLIE: Gunpowder?

(Sayid stands over Charlie.)

SAYID: Remove the towel and tilt your head back.

(Charlie doesn't move.)

SAYID: (firmly) Remove the towel.

(Charlie removes the towel form his cut. Sayid reaches down and grasps
Charlie's head, angling it.)

CHARLIE: This is because I hit you, isn't it?

(Sayid carefully pours the gunpowder along Charlie's gash. He squirms at the
stinging.)

CHARLIE: Aah! Aah!

(Sayid turns and picks up a match box. He removes a single matchstick.)

SAYID: This is not going to be pleasant. You ready?

CHARLIE: Yeah.

(Sayid lights the match.)

SAYID: One ... two ... three.

(Sayid lights the gunpowder.)

FAR SHOT.

(Charlie screams and squirms from the pain. Sayid drops to his knees to help
Charlie.)

(Charlie's screams echo in the jungle.)

CHARLIE: Aaaahh!!

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. (SYDNEY) HOTEL ROOM - DAY - HURLEY'S FLASHBACK]

(In the darkened hotel room, Hurley snores. He stirs and blinks a couple of
times. He reaches out and grabs his dead alarm clock. He reaches up and tries
to turn on the room lamp. That's dead also.)

(He pushes the curtains open and sees that it's fully lit outside. He looks at
the bedside table where his Discman and headphones are. He looks down at the
outlet and finds the wall black from the overload.)

(This isn't good.)

HURLEY: Oh, man.

SHORT TIME CUT TO:



(Hurley is on the phone as he stuffs his things into his bags.)

HURLEY: (to phone) I need my car. Twenty minutes?! Look, I can't miss my
flight! (He zips up his bag.) My mom's birthday's tomorrow.

(Hurley slams the phone down. He grabs his wallet and tickets.)

SHORT TIME CUT TO:



[INT. (SYDNEY) HOTEL ROOM HALLWAY - DAY - HURLEY'S FLASHBACK]

(Hurley steps out of the hotel room #2342, his luggage in tow behind him. He
hurries down the hallway toward the elevator.)

(He pushes the down button.)

HURLEY: (mutters) Come on, come on, come on, come on, come on, come on!

(The elevator bell dings and the doors open.)

HURLEY: Oh, cool.

(The elevator is packed with people. There's no way Hurley's going to fit
inside. He stops, then turns to look at the EXIT sign.)

(He heads for the EXIT.)

(Hurley dashes for the stairway.)

(Camera swings around and we see Charlie in the back of the elevator none too
pleased at the elevator stopping for no reason.)

CHARLIE: (shouts) Some of us have a bloody flight to make!



[INT. (SYDNEY) HOTEL- LOBBY -- DAY - HURLEY'S FLASHBACK]

(Hurley runs out and across the lobby.)

HURLEY: Excuse me! Coming through! Excuse me! Excuse me!

(He heads for the exit door.)

HURLEY: Excuse me. Excuse me.

(He squeezes out the narrow door.)



[EXT. (SYDNEY) HOTEL - FRONT -- DAY - HURLEY'S FLASHBACK]

(Hurley hastily pays the man for getting his SUV, license # ??X 327. The man
nearly drops the tip as Hurley dashes to the car door.)



[INT. (SYDNEY) CAR (MOVING) - DAY - HURLEY'S FLASHBACK]

(Hurley is driving his car.)

HURLEY: (muttering to himself) Come on. Come on.

(The engine backfires and dies. Hurley glances down at the panel and we note
the following: 42 KM, 23 degrees C, and 16 KPH SPEED. It changes to 15 KPH
SPEED, then blinks off and on as the car slowly comes to a halt.)

HURLEY: Oh. Oh ... no. (shouts) No! No! No!

(CU: CAR PANEL. It's at 42 KM and 8 KPH SPEED. Then it changes down to 4 KPH
SPEED.)

(Hurley pulls the car over to the side of the road. The white car behind him
beeps its horn.)

(Hurley gets out of the SUV and slams the car door shut. He motions helplessly
to the car. Above him, we hear a plane fly overhead. Hurley looks up at the
plane.)

CUT TO:

(Hurley runs up the street, dragging his two pieces of luggage behind him.)

CUT TO:



[INT. (SYDNEY) INTERNATIONAL AIRPORT - LOBBY -- DAY - HURLEY'S FLASHBACK]

(Hurley rushes into the airport lobby.)

HURLEY: Excuse me! Excuse me! Look out! Coming through!

(He runs across the lobby, bobbing through the various people.)

HURLEY: Excuse me! Excuse me! Look out! Excuse me!

CUT TO:



[INT. (SYDNEY) AIRPORT - CHECK-IN -- DAY - HURLEY'S FLASHBACK]

(Hurley slaps his passport on the counter. The ticket agent opens it and looks
at Hurley. The collar area of Hurley's t-shirt is soaked with sweat.)

VOICE (WOMAN): (overhead) Flight 917 is now boarding at Gate 85.

(The ticket agent turns to the monitor and starts typing - slowly ... one key at
a time. On the monitor, we see:

[ OCEANIC
AIRLINES
Ticket Check-in Confirmation Sheet: FLIGHT 815
(Passenger) Reyes Hugo
(Sex) Male
(D.O.B.) DD / MM / YYYY

{On the Left}
(Departures) Sydney - SYD
(Time) 14:15
(Carrier) OCA (Seat) 20 G

(Arrival) Los Ageles-LAX
(Time) 10:42
(Terminal) International
(Baggage) YY

{On the Right}
Meal Request Chicken
Economy Seating YY
Movie N/A
Baggage Check 1
Double Booking YY

{Bottom Center}
NON TRANSFERABLE
PREBOARD NOT APPLICABLE ]

(Hurley anxiously taps his fingers against the countertop. This must be the
slowest ticket agent typist in the entire airport. The ticket agent continues
to type. She glances at Hurley's tapping fingers.)

VOICE (WOMAN): (overhead) Flight 917 is now boarding at Gate 85.

HURLEY: Any way we can hurry that up? My mama's birthday's tomorrow. Or ...
today. I don't know. I don't really get the whole time change thing. But I got
to make that flight.

TICKET AGENT (WOMAN): I am going as fast as the system will allow me, dear.
You are confirmed for seat 20-G. However, the airline has a policy that a man
of your size must purchase two tickets.

HURLEY: What? I didn't have to do that on the flight out here.

TICKET AGENT (WOMAN): Am I going to have to weigh you, dear?

HURLEY: Fine. Whatever. I'll buy the one next to it.

(Hurley slaps his credit card on the counter.)

TICKET AGENT (WOMAN): All righty. Here's two together.

HURLEY: Book it.

VOICE (WOMAN): (overhead) Departure Gate Flight 143 has been changed to --

(The ticket agent picks up the ticket cover and looks at it.)

TICKET AGENT (WOMAN): Uh-oh.

HURLEY: Uh-oh, what, uh-oh?

TICKET AGENT (WOMAN): It appears that your flight is already boarding in the
Oceanic International Terminal. (She points to the sign on the wall: SYDNEY
AIRPORT INTERNATIONAL FLIGHTS --> ) This is the domestic terminal. I don't
think you were meant to make this flight, dear.

(And with that, Hurley grabs the ticket out of the ticket agent's hand and
hurries to catch his plane.)

CUT TO:



[STAIRS]

(Pulling his bags behind him, Hurley rushes down the stairs.)

CUT TO:

(Hurley runs.)



[ESCALATOR]

(Hurley is walking up the up escalator, weaving his way through people.)

HURLEY: Sorry. Excuse me, pardon me.
HURLEY: Excuse me. Sorry.
HURLEY: Excuse me. Sorry. Excuse me.

(Hurley reaches the top.)



[LOBBY]

(Hurley runs through the lobby, carrying his bags.)

HURLEY: Excuse me! Excuse me! Coming through behind you!

(He picks up his luggage and holds it over his head as he works his way through
the crowd.)

HURLEY: Look out! Look out, look out, look out!
HURLEY: Excuse me. Excuse me.



[SECURITY CHECKPOINT]

(Hurley reaches the security checkpoint and runs all the way up to the front of
the very long line.)

(He steps over the tape, picks up his luggage over his head and makes his way to
the front of the line.)

HURLEY: Excuse me. Sorry. I'm sorry! Sorry, it's an emergency. I gotta cut
through.

(Hurley reaches the front of the line.)

HURLEY: Excuse me. Dude. Dude.

SECURITY AGENT (MAN): Back of the line.

HURLEY: I'm gonna miss my -

SECURITY AGENT (MAN): No. Back of the line.

HURLEY: You don't understand. This is -

SECURITY AGENT (MAN): Back of the line.

(Hurley sighs and gives up. He turns and heads for the back of the line.)

SECURITY AGENT (MAN): Next.

(As he leaves, we notice Leslie Arzt standing in line. The man in front of him
is trying to get his computer out.)

LESLIE ARZT: Now? You're taking the computer out now?

SHORT TIME CUT TO:



(Hurley is inside and still he has to get to the gate. He puts his luggage down
and looks at the information screens. He turns and sees an old man riding a
motorized scooter.)

HURLEY: Hey! Old guy!

(The old man stops. Hurley takes out his wallet.)

HURLEY: I'll give you 500 bucks to borrow your scooter.

(The old man is wearing a "Crazy 8's casino" cap.)

OLD GUY: I just had a hip replacement. I need this thing.

HURLEY: Okay.

(Hurley digs out a stack of cash from his wallet.)

HURLEY: 1,600 bucks!

(The old man looks at the cash, then at Hurley. The old man smiles.)

CUT TO:



(We see a red flag traveling quickly past the thick greenery of the plants.)

HURLEY: (o.s.) Excuse me! Excuse me!
HURLEY: (o.s.) Whoa, coming through. Look out.

(Hurley clears behind the plants and we see him riding the motorized scooter.)

HURLEY: Ooh, look out, look out.

(He zips through the floor on his way to the gate.)

HURLEY: Whoa, coming through. Look out. Excuse me. Excuse me look out! Heads
up! Coming through! Look out!

(He passes by a girl's team wearing blue & white jerseys. Each girl has a
different number in white on it: 4, 8, 15, 16, 23, 42.)

HURLEY: Coming through, coming through, coming through!

(He passes in front of a Japanese family taking a picture.)

HURLEY: Konnichiwa. Excuse me.

(He heads for the Oceanic counter.)

HURLEY: Look out! Coming through.

(People move out of the way.

HURLEY: Excuse me.

(Hurley looks up at the sign: GATES 14 THRU 23.)

CUT TO:



(Hurley weaves through the people on his way to the waiting area.)

HURLEY: Look out! Look out!

(He looks and sees the attendant closing the door to GATE 23.)

HURLEY: Whoa -- hey! Hold it! Hold the door! Hold the door!

(Hurley stops the scooter and rams into some waiting chairs. He stops,
struggles to get up. He grabs his luggage and runs to the gate.)

HURLEY: Hold -- hold the door!

(Hurley reaches the gate and stops in front of the attendant, Jenna.)

HURLEY: (panting) I gotta get on this flight.

JENNA: Sir, the jetway's closed.

(Hurley grabs his ticket from his shirt pocket.)

HURLEY: (pleads) Please. For the love of all that is good and holy in the
world, let me on this plane!

JENNA: All right, one second. (She picks up the phone.) (to phone) Hunter,
this is Jenna. We've got one more. (She pauses and listens. She smiles.) Ta.
(She hangs up the phone.) (to Hurley) This is your lucky day.

(Hurley smiles with relief.)

(He gets up as Jenna opens Gate 23.)

(Hurley heads for the gate. As he reaches her, he stops and gives her a huge
hug, twirls her completely around in the air before setting her back on her
feet.)

(Hurley steps in through the gate.)

(Jenna closes the door behind him.)

HURLEY: (PRE-LAP) (v.o.) (under his breath) Fifteen, sixteen 23, 42, 4 ...

CUT TO
END OF HURLEY'S FLASHBACK
RESUME TO PRESENT.



[EXT. JUNGLE - NIGHT -- PRESENT]

(CU: HURLEY'S MOUTH)

(He takes a breath.)

HURLEY: (rhythmically under his breath) ... 15, 16, 23, 42, 4 ... (breath) ...
15, 16, 23, 42, 4 ... (breath)

(It's night. Hurley carries a torch and walks behind Kate.)

HURLEY: ... 15, 16, 23.

KATE: (interrupts) Did you say something?

HURLEY: No.

(Kate turns to the left.)

KATE: I thought I heard "23."

HURLEY: Does that mean something to you?

(Kate looks back at Hurley.)

KATE: What?

HURLEY: That number? Twenty-three?

(Kate pauses a moment.)

KATE: The guy who called the Feds on me back in Australia ... did it for a
$23,000 reward. Mean something to you?

HURLEY: Nah. Just a number. We better catch up. Can barely see them.

(Hurley walks past Kate and continues down the path.)



[JACK AND LOCKE]

(Each carrying their own torches, Jack follows Locke back to the hatch. Jack
glances back. Locke turns and sees Jack just behind him.)

LOCKE: We shouldn't be this close to each other, Jack.

JACK: If we blow up, we blow up.

(Jack steps closer to Locke.)

JACK: What the hell was all that about back there, John?

LOCKE: What was what about?

JACK: You asked me to let you go.

LOCKE: That's right.

JACK: No, that thing was taking you down the hole, and you asked me to let you
go.

LOCKE: (interrupts) It wasn't gonna hurt me.

JACK: No, John, it was gonna kill you.

LOCKE: I seriously doubt that.

(Locke turns and continues down the path. Jack follows him.)

JACK: Look, I need for you to -- I need for you to explain to me what the
hell's going on inside your head, John. I need to know why you believe that
that thing wasn't gonna --

LOCKE: (interrupts) I believe that I was tested.

JACK: Tested.

LOCKE: Yeah. Tested. I think that's why you and I don't see eye to eye
sometimes, Jack. Because you're a man of science.

JACK: Yeah. And what does that make you?

LOCKE: Me? Well, I'm a man of faith. Do you really think all this is an
accident? That we, a group of strangers, survived, many of us with just
superficial injuries? You think we crashed on this place by coincidence?
Especially this place? We were brought here for a purpose, for a reason -- all
of us. Each one of us was brought here for a reason.

JACK: Brought here. And who brought us here, John?

LOCKE: The island. The island brought us here. (Jack is having a difficult
time listening to this.) This is no ordinary place. You've seen that. I know
you have. The island chose you, too, Jack. It's destiny.

JACK: Did you talk with Boone about destiny, John?

LOCKE: Boone was a sacrifice that the island demanded. What happened to him at
that plane was a part of a chain of events that led us here. That led us down a
path. That led you and me to this day, to right now.

JACK: (nods) Where's that path end, John?

LOCKE: The path ends at the hatch.

(Jack shakes his head.)

LOCKE: The hatch, Jack. All of it happened so that we could open the hatch.

JACK: No, no, we're opening the hatch so that we can survive.

LOCKE: Survival is all relative, Jack.

(Jack shakes his head and sighs.)

JACK: I don't believe in destiny.

(Jack walks around Locke.)

LOCKE: Yes, you do. You just don't know it yet.

(The two men look at each other. Jack continues on. Camera holds on Locke.)

CUT TO:



[EXT. OCEAN - RAFT -- NIGHT]

(The raft sails on the open ocean. Walt is sleeping. Michael drapes a blanket
on Walt.)

(Jin sits at the rudder. Sawyer stands in front of the radar screen looking at
it. Michael walks up to Sawyer and puts a hand on his arm to get his
attention.)

MICHAEL: I turned it on a little while ago.

SAWYER: Sayid said every hour.

MICHAEL: Look, we're fifteen miles out. We could be here for weeks. If that
battery runs out --

(Sawyer holds out the transceiver.)

SAWYER: (insistent) Man said every hour.

(Michael takes the unit and clicks it on.)

SAWYER: Nothing.

MICHAEL: Five minutes. No more.

SAWYER: Aye-aye. (Michael glances at Saywer.) Know what I like about you,
Mike? You got the patience of a saint.

MICHAEL: Yeah? Why you say that?

SAWYER: I've seen the way he talks to you. The way he runs around, does
whatever the hell he wants. I'd have shown him the back of my hand a long time
ago.

MICHAEL: You would, huh?

SAWYER: Hell of a lot cheaper than a shrink.

MICHAEL: Is that what your father did to you? Show you the back of his hand?

SAWYER: My daddy never got a chance to beat me. He shot himself when I was
eight.

MICHAEL: That why you want to die, man?

SAWYER: What?

MICHAEL: Since the day you told me you wanted on this raft, I couldn't figure
it out. Why does a guy who only cares about himself want to risk his life to
save everyone else? Yeah ... way I see it, there's only two choices. You're
either a hero, or you want to die.

SAWYER: Well ... I ain't no hero, Mike.

(The radar starts to beep steadily. Jin is suddenly alert and looks around.)

(Sawyer looks at the radar screen and sure enough there is a bright dot on the
left side of the screen.)

SAWYER: That what I think it is?

(Jin and Michael both look out at the ocean - at nothing but pitch black.)

MICHAEL: Something's out there.

(Sawyer also looks out at the ocean.)

(The steady beeping continues.)

(Jin looks around.)

(Camera holds on the ocean.)

FADE OUT.

(The radar beeping continues.)

(COMMERCIAL SET)



FADE IN.

[INT. (SYDNEY) INTERNATIONAL AIRPORT (GATE 23) - DAY - LOCKE'S FLASHBACK]

(A man with his right leg in a cast and using crutches heads for the gate. An
older man with a walker moves forward. Just behind them, Locke sits forlornly
in his wheelchair. An elderly couple standing just behind him makes their way
to the gate.)

(Locke sits and waits his turn as they're being pre-boarded.)

JENNA: I'm sorry, sir, but the special wheelchair that we use for loading the
disabled passengers -- well, no one seems to know where it is right now, and
unless we find it, I'm not sure we can get you on.

LOCKE: There's not another flight till tomorrow.

JENNA: Yes, I'm aware of that, sir, but there's nothing I can do.

J.D.: Look, I can get Michelle. We can carry him on. Would you mind if we
carry you on?

(Locke can't believe it. He sighs. He's really got no other option.)

LOCKE: No, that would be fine.

SHORT TIME CUT TO:



[INT. PLANE - DAY -- LOCKE'S FLASHBACK -- CONTINUOUS]

(Between JD and Michelle, Locke is being carried into the plane. Michelle
checks the seating numbers.)

MICHELLE: Here we go. Here's your seat.

(They sit Locke down in the seat.)

J.D.: I'll get your bag, sir.

(J.D. steps away.)

MICHELLE: If you need anything, just push the call button.

LOCKE: Okay.

(Michelle steps away.)

LOCKE: Thank you.

(Locke sighs.)

(He reaches into the seat pocket and removes the information card. He drops the
card on the floor. He reaches down to get it and finds that he can't reach it.)

CUT TO
END OF LOCKE'S FLASHBACK
RESUME TO PRESENT.



[EXT. THE HATCH - JUNGLE - NIGHT -- PRESENT]

(The group returns to the hatch. Jack puts his torch down. Locke hands him his
torch and Jack sticks that in the ground as well. Locke removes his backpack.)

LOCKE: Hugo ... take these extra sticks back a couple hundred yards.

(Locke points to Jack's backpack.)

HURLEY: Me?

(Jack removes his backpack.)

HURLEY: Oh. Okay. Got it.

(Jack hands Hurley his backpack.)

JACK: Be careful.

(Jack continues walking past Hurley toward the hatch. Hurley stops him.)

HURLEY: Can I have a flashlight? Cause, uh, the torch around the dynamite
thing, not making a whole lot of sense to me.

(Jack hands Hurley the flashlight and takes his torch.)

LOCKE: Kate, you run the fuse.

(Locke hands Kate the spool of fuse wire and points in a direction away from the
hatch.)

LOCKE: Jack and I will rig the charges.

(Kate takes the spool and looks at it. In the background, we see Hurley start
to leave the area with Jack's backpack on.)

KATE: Okay.

(Kate walks over to Jack. He takes the end of the fuse.)

KATE: Hmm.

(Kate steps onto the hatch. Jack steps onto the hatch just behind her. Kate
walks across the hatch and onto the other side, hopping off the hatch as she
heads away. Jack remains standing on the hatch.)

CUT TO:



[EXT. BEACH - BLACK SMOKE -- NIGHT]

(FAR SHOT: The black column of smoke continues to rise in the night sky. We're
close enough to see the actual fire burning and we see that it's set up on the
beach.)

(Sayid and Charlie step out from the jungle. Sayid has his gun out. Charlie
holds his gun, pointed down.)

(Sayid and Charlie see the fire in front of them. It's a black tire set upon
four large wooden logs resting against each other in the shape of a tee-pee.
The tire is set at the top. In the center of the tire is some burning wood
sticks.)

(Sayid and Charlie both walk out slowly.)

CHARLIE: What the hell is that?

(Sayid looks at the undisturbed sand around the fire.)

SAYID: There's no footprints, no tracks.

CHARLIE: This is it? This is the black smoke? (He looks around.) Where are
they?

(Sayid looks around.)

SAYID: I don't know.

(They reach the burning tire.)

(Off screen, they hear a baby cry. They both turn around.)

CHARLIE: She's here.

(Sayid puts his gun away. He looks at the bushes.)

SAYID: (shouts) Danielle?

(Charlie heads for the bushes.)

CHARLIE: (angry) You come out! Right now!

(Sayid grabs Charlie and stops him.)

SAYID: Calm down.

(In addition to the baby crying, we now hear Danielle sobbing.)

SAYID: Danielle? I can hear you. Come out. Please. He needs his mother.

(Danielle steps out from the bushes. In her arms, she's carrying the baby.)

DANIELLE ROUSSEAU: They were not here.

SAYID: Danielle, you have to give us the baby.

DANIELLE ROUSSEAU: (crying) I just ... wanted my Alex back. I thought ... if
I gave them the baby ...

(She cries.)

(Sayid looks at her and understands. He edges slowly toward her.)

SAYID: (quietly) It's okay. I know.

(Danielle looks at down at the baby and cries.)

(Sayid reaches Danielle and reaches for the baby.)

SAYID: (softly) It's okay.

(Sayid takes the baby. He turns and hands the crying baby to Charlie.)

CHARLIE: I got him.

(Charlie holds the baby. He looks at Danielle and glares at her.)

CHARLIE: (accusing) There never were any others. You started the fires
yourself!

DANIELLE ROUSSEAU: (shakes her head) No. I heard them whispering.

CHARLIE: You're a nut job. You heard nothing!

DANIELLE ROUSSEAU: I heard them say they were coming for the child. The others
said they were coming for the boy.

(Charlie looks at Danielle as she wipes the tears from her eyes.)

CHARLIE: You're pathetic.

(FAR SHOT: The light from the burning tire on the beach.)

CUT TO:



[EXT. THE HATCH - JUNGLE - NIGHT]

(Jack carefully picks up a stick of dynamite and hands it to Locke, who places
it carefully on the other two.)

LOCKE: Wire.

(Jack straightens a piece of wire and hands it to Locke. Locke places the wire
against the dynamite.)

LOCKE: Hold that end.

(Jack is startled by the request. Locke turns and looks at Jack when he doesn't
immediately move. Jack reaches out and holds the wire down as Locke wraps it
around the dynamite sticks.)

LOCKE: Now the fuse.

(Jack stands up and gets the fuse. We see that Jack and Locke are sitting on
the hatch and setting up the dynamite direction on the hatch door.)

(Locke holds out his hand for the fuse.)

JACK: I'll do it.

(Jack attaches the fuse, pushing it into the dynamite.)



(Finished, Jack and Locke step off of the hatch and join Kate nearby.)

KATE: It's as far as it goes.

LOCKE: It's far enough. I'll light it. You take cover. There'll be enough
burn time for me to get clear.

JACK: (shouts) Hurley!

HURLEY: (o.s.) Wait just a sec.

(Kate picks up her backpack. Jack heads out. Kate follows him.)

(Jack glances back.)

KATE: So, what was that about back there?

(They reach a safe distance and kneel down.)

JACK: What was what about?

KATE: Putting the dynamite in your pack?

JACK: I made a judgment call.

KATE: We drew straws.

JACK: Sorry, but I'm not gonna let drawing straws make decisions like that for
us, Kate.

KATE: You had no right to make that --

JACK: (interrupts) Everybody wants me to be a leader until I make a decision
that they don't like. You want to keep second-guessing me, Kate? That's your
call. There's something that you need to know. If we survive this, we survive
tonight ... we're gonna have a Locke problem.

(They both turn and look at Locke.)

JACK: Now, I have to know that you got my back.

KATE: I got your back.

(Jack nods.)

LOCKE: (o.s.) Are we ready?

(Locke holds the fuse.)

HURLEY: (o.s.) Wait a sec. Wait a sec.

(Hurley steps out of the bushes and makes his way toward the hatch. Locke
kneels down, waiting.)

(Hurley accidentally drops the flashlight on the ground. He reaches down to
pick it up. He looks up and sees it: the numbers on the side of the hatch-4,
8, 15, 16, 23, 42.)

(He shines the flashlight on the numbers.)

HURLEY: (softly) No. No, no, no.

(Suddenly, Hurley looks up and shouts.)

HURLEY: Stop!

(Locke looks up.)

HURLEY: Stop! We can't do this!

(Jack and Kate turn. Hurley starts running around the hatch, trying to get to
them to stop.)

HURLEY: Stop! Wait! Stop! We can't do this!

HURLEY: Stop it! Stop it!

(Locke turns and looks back at Jack. Jack stands up.)

HURLEY: We can't!

(Hurley runs toward them.)

HURLEY: Stop! Don't light it! We can't do this! We can't do this! Stop!

(Hurley is nearly upon them.)

HURLEY: What are you -- ? We've got to stop! The numbers are bad!

(But nothing is going to stop Locke from opening this hatch. Locke lights the
fuse.)

HURLEY: Stop!

(Locke puts the fuse down on the ground.)

HURLEY: What are you doing?! Why'd you do that?!

(Hurley tries to stamp out the fuse with his foot.)

HURLEY: The numbers are bad! The numbers are bad!

JACK: Hurley!

(Jack runs toward Hurley.)

HURLEY: The numbers are bad!

(Hurley continues to stamp out the burning fuse. Inching closer and closer back
to the hatch.)

JACK: Hurley, Stop!

HURLEY: The numbers are bad!

(Jack runs toward Hurley.)

JACK: Hurley! Hurley!

HURLEY: The numbers are bad!

(Jack grabs Hurley and pushes him back.)

JACK: Hurley, you've got to get back! You've got to get back.

HURLEY: We can't -- the numbers --the numbers --

(Jack tackles Hurley to the ground.)

(Locke takes cover with Kate.)

(The hatch explodes.)

CUE SOUND: (PRE-LAP) STEADY RADAR BEEPING

CUT TO:



[EXT. OCEAN - THE RAFT -- NIGHT]

(The radar shows a bright dot slowly nearing the center. Walt wakes up.)

SAWYER: It's closer. It's closer! Give me the damn flare gun.

MICHAEL: Hold on a second.

SAWYER: It's closer, I'm telling you. Look at it.

MICHAEL: Look, I know, okay? I got one flare. One flare.

JIN: (in Korean) (untranslated)

MICHAEL: What? Okay. I know. You don't see anything. Okay.

SAWYER: What the hell are you expecting to see? In case you haven't noticed,
it's dark.

WALT: What is it? Is it a ship?

MICHAEL: We don't know, little man. We don't know.

JIN: Starboard? Port?

MICHAEL: Uh ... port. Port.

JIN: (in Korean) (untranslated)

MICHAEL: Okay, what the hell am I supposed to do about that?

SAWYER: Hey, Han, you and Chewie want to slow down a second and talk to me
here? We have to fire the flare.

MICHAEL: We don't know what it is. It could be anything. A piece of floating
junk. We don't even know if Sayid's radar works.

SAWYER: You ever known that guy to fix something up that don't work?

WALT: It's moving away.

(Sure enough, the dot on the radar is getting farther from the center.)

SAWYER: Floating junk knows how to steer, huh?

MICHAEL: We're moving. It doesn't mean --

SAWYER: Look, are you gonna give me the damn gun, or am I gonna have to take
it?

MICHAEL: What are you gonna do, shoot me?

(There's a tense moment.)

WALT: It's almost gone!

(Everyone's silent. Walt turns and looks at Michael.)

WALT: Come on!

(Michael takes the flare gun out.)

MICHAEL: Please, God ...

(He points up to the air and fires.)

(Jin drops the sail.)

(They all stand in the dark and look up at the sky.)

(The beeping continues.)

(Walt turns and looks at the screen. He looks up at the sky.)

(The beeping stops.)

(The dot disappears from the radar screen.)

(Suddenly, the beeping starts up again. The dot re-appears on the screen and
moves quickly toward the center.)

WALT: It's coming back! It's coming back!

(They all turn to look at the screen.)

MICHAEL: Is it -- ?

(They start laughing. While the others celebrate, Jin steps out toward the edge
of the raft, looking out at the darkness in front of them.)

SAWYER: Okay.

MICHAEL: Hell, yeah, okay! Hell, yeah!

(Jin turns around and shushes them.)

JIN: Shh!

(They quiet down and look at Jin. Jin points to his ears, indicating that they
should listen.)

(The beeping continues.)

(In the distance, we hear the rumblings of something approaching.)

(Everyone stands quietly. The distance rumblings become a faint hum from an
engine. It gets louder.)

(In the darkness, they look out. The engine sounds get louder.)

(It sounds as if it's nearly in front of them, but still, they only see
darkness.)

(Suddenly, bright floodlights switch on directly on their faces.)

MICHAEL / JIN / SAWYER: Hey! Hey! Hey!

(They start waving to the boat in front of them.)

(Michael has a hand on Walt's shoulder and laughs. Jin turns and gives Walt a
big hug. Everyone celebrates at being found.)

WALT: Yeah!

SAWYER/ MICHAEL: Whoo! Whoo!

SAWYER: Hey, hey!

WALT: Yeah!

(The craft in front of them approaches. The floodlights still shine brightly on
them.)

(They laugh and cheer.)

SAWYER: Hey! Over here!

MICHAEL: Ahoy! Ahoy!

(The craft approaches them.)

MICHAEL: Oh, man, are we glad to see you.

(A small boat approaches. There are four men aboard - the oldest, a bearded
man, mans the floodlights. There's also a figure in the cabin.)

BEARDED MAN: What's going on? What are you folks doing this far out here?

MICHAEL: Hey, we were on a plane. The plane crashed. We've been on an island
for a month, man!

SAWYER: Woo-hoo!

BEARDED MAN: Plane crash, huh? Well, how about that?

MICHAEL: We were on an island. Uh, flight 815. Hey, where are we?

BEARDED MAN: It's a good thing we found you.

MICHAEL: Yeah, yeah. We survived, and, uh, there's a whole group of people on
the other --

BEARDED MAN: (interrupts) Well, ain't that something.

MICHAEL: Yeah! (Michael laughs.)

BEARDED MAN: (seriously) Only, the thing is, we're gonna have to take the boy.

MICHAEL: What? What'd you say?

BEARDED MAN: The boy. We're gonna have to take him.

(Sawyer stares darkly at them. This doesn't look good.)

MICHAEL: Hey, what the hell is going on here? Who are you people?

BEARDED MAN: Just give us the boy.

(Two men on board stand up. Jin steps aside. Sawyer keeps his eyes on the two
men on the boat.)

MICHAEL: I'm not giving you anybody.

(Slowly, Sawyer reaches behind him for the gun. He wraps his hand securely
around the gun handle.)

BEARDED MAN: Well, all right then.

(Suddenly, the floodlights turn off, plunging everyone in darkness.)

(Sawyer takes out the gun. But before he can fire, one of the dark-haired men
on the boat fires first.)

(Sawyer appears to be hit in the shoulder. He turns upon impact and falls off
the raft into the ocean with a splash.)

MICHAEL: Hey! Hey!

(Jin sees Sawyer fall into the ocean.)

JIN: Sawyer!

(He dives into the ocean after him.)

(Two of the men from the boat jump onboard the raft. They grab Walt.)

WALT: (screaming) Dad! Da-a-ad!

(Michael turns around and sees them dragging Walt away.)

MICHAEL: No!

(Michael grabs for Walt.)

MICHAEL: Walt! No!

(Someone behind Michael grabs his arm and holds him back.)

WALT: (screaming) Da-a-ad! Dad!

(Michael fights and is hit in the stomach.)

WALT: (screaming) Dad! Dad, no!

(One of the men puts Walt on their boat.)

WALT: (screaming) Help! Dad! Dad! Dad!

(Michael is hit on the back and falls into the water. The men return to their
boat and the boat pulls away. They each have a firm hold on Walt standing on
the edge looking back at the raft as they pull away.)

WALT: (screaming) Dad! Dad! Da-a-ad!

(Michael breaks surface.)

MICHAEL: (shouts) Walt!

WALT: Dad, please! Help , Dad! Help me, Dad!

(While treading water, Michael sees a woman in the cabin appear and throw a
glass filled with yellow-ish liquid onto the boat. The glass is taped to
something. It hits the raft - a make-shift Molotov cocktail.)

(Michael takes a breath and dives under the water.)

WALT: Dad! Please! Dad, help me!

(The raft explodes.)

WALT: Dad! Please! Da-a-ad!

(Michael watches as the boat with two men holding Walt on it pulls away.)

MICHAEL: Walt!

WALT: Help me! Dad! Please! Da-a-ad!

MICHAEL: Walt!

(Michael treads water. Walt's cries fade as he gets father and farther away.)

MICHAEL: Walt!

WALT: Help me! Dad!

(The boat pulls away into the darkness.)

MICHAEL: (screams) Wa-a-alt! No-o-o! Walt!

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. CAVES -- NIGHT]

[AUDIO: OFF]

(Claire sits by herself at the caves.)

(Charlie and Sayid return. Charlie is carrying the baby.)

(Claire looks up and sees Charlie, Sayid and the baby. Her face lights up. She
gets to her feet and runs over to them. Charlie returns the baby to Claire.)

(Sayid puts a hand on Charlie's shoulder and steps away from them. Charlie
smiles at him.)

(Sayid steps away from the large group gathered around Claire, Charlie and the
baby. Charlie smiles at Claire. Claire puts her arm around Charlie and hugs
him.)



(Shannon walks up to Claire and looks at the baby. Claire kisses her baby's
forehead.)

(Shannon smiles at her. She looks up and around the group ... then stops when
she sees Sayid alone over at the water, washing his face.)
(Shannon runs to Sayid and holds him.)

(Sayid holds Shannon.)

SHORT TIME CUT TO:



(Charlie wipes his face with a piece of cloth. Claire looks at Charlie. He
dips the cloth into the tin of water.)

(Camera refocuses and we see the Virgin Mary statue sticking out of Charlie's
open backpack.)

(Charlie dabs at the cuts on his face with the damp cloth.)

CUT TO:



[INT. OCEANIC PLANE - BOARDING - DAY - FLASHBACK]

VARIOUS VIEWS OF THE PASSENGERS BOARDING

(The passengers board the plane. Claire squeezes her eight-month pregnant body
past a man in the aisle as she makes her way to her seat.)

(Kate, carrying a coat over her handcuffed hands, steps onto the plane. The
marshal walks just behind her. She looks around.)

(Sawyer steps onto the plane. He doesn't look at anyone and heads down the
aisle to his seat.)

(Locke sits in his seat. Jack is standing just in front of him, putting his bag
into the overhead compartment.)

(Charlie struggles to get his guitar case into the compartment near the flight
attendant's compartment.)

(Sayid sits down in his seat. A blonde-haired man a couple of seats behind him
stares at him. Sayid turns to look at the man, but the man turns away, not
meeting his eyes. Sayid sighs.)

(Jin is looking at the watch in its container. He stares at it. Sun, who sits
next to him, is looking through a Korean magazine oblivious to Jin's inner
turmoil.)

(Michael and Walt are in their seats. Michael glances down at Walt who is
playing his video game. He turns, buckles Walt's seat belt and tightens
securely it for him.)

(The marshal secures the handcuffs around Kate's wrists.)

(Sayid reaches into his shirt pocket and takes out a photo. It's the current
photo of Nadia.)

(Shannon digs into her bag, looking frantically for something. Boone, sitting
next to her, takes out her inhaler and holds it out for her. She glances at it
and takes it from him. He looks at her. She looks at him ... and smiles.)

(And finally ... Hurley enters the plane, tired and sweaty. He takes a deep
breath and makes his way to his seat. He looks around and catches Walt's eyes.
Walt glances up from his hand-held game and looks at Hurley as he walks by.
Hurley sees Walt. He sticks his tongue out to the side and gives him a thumb's
up sign.)

(Walt smiles back at Hurley. Just then, Michael glances down at Walt, who is
still smiling as he returns to his game.)

(Hurley takes his seat. He buckles up. He reaches next to him and puts on his
headphones. He takes out the comic book, Green Lantern/Flash: Faster Friends
#1. He opens it and bends the comic book back over the page he's reading. We
see the page on the polar bear. Hurley starts reading.)

(Leslie Arzt helps Claire put her bag up in the over-head compartment.)

(Jack finishes putting up his things in the overhead compartment. Locke,
sitting just there right in front of him, watches Jack. Jack turns and sees
Locke. Their eyes meet. Jack nods. Locke smiles.)

(Jack takes his seat next to the window across the aisle from him.)

(Camera holds on Locke's thoughtful look.)

CUT TO
END OF FLASHBACK
RESUME TO PRESENT.



[EXT. THE HATCH - JUNGLE - NIGHT - PRESENT]

(The smoke and dust from the explosion fill the air. Locke rushes forward
toward the hatch. He turns and grabs the torch from Kate. Jack, Hurley and
Kate all head for the hatch.)

(Locke and Jack approach the hatch. There's definitely some major damage to the
hatch cover. It's completely bent out of shape.)

(Jack stops.)

(Kate and Hurley linger in the background.)

(Locke jumps onto the hatch. Jack follows. They each take up a position on the
opposite sides of the hatch cover as they look down. Jack looks at Locke.
Locke looks up at Jack. Their eyes meet.)

(They both turn to look down at the hatch cover. They both reach down and push
the hatch cover aside.)

[INSIDE THE HATCH POV]

(From inside the hatch looking up, Locke and Jack push aside the cover, opening
the hatch.)

[RESUME VIEW]

(Locke and Jack kneel to look inside the hatch.)

[INSIDE THE HATCH POV]

(Locke and Jack look into the hatch. They both look at each other at the same
time, then turn back to look down into the hatch.)

(Camera very slowly starts to pull back away from the open hatch door, pulling
down backward into the hatch itself.)

(As the camera pulls back, we see a metal ladder leading down one side of the
square passageway.)

(Camera pulls back faster and further and we see that some of the rungs on the
metal ladder are broken and bent out of shape. The flickering light from the
torch barely illuminates the passageway.)

(The camera continues to pull back down into the deep, deep passageway.)

SMASH CUT TO:



[TITLE LOGO: LOST]

FADE TO BLACK.

==========================
THE END
==========================

[Captions by Vitac closed captioning sponsored by Ford.]

Transcript by Intrepid
Beta: DianeM
Courtesy of http://anthology.webphilia.com/

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive or distribute this transcript without permission from the
Transcriptionist.

==========================
TITLE/OPENING CREDITS
==========================
LOST
1X24/1X25: EXODUS (PARTS 2 & 3)
ORIGINAL AIR DATE ON ABC: 05/25/2005
TRANSCRIBED FROM ABC

Starring:
NAVEEN ANDREWS as Sayid
EMILIE DE RAVIN as Claire (Littleton)
MATTHEW FOX as Jack (Shephard)

JORGE GARCIA as "Hurley" (Hugo Reyes)
MAGGIE GRACE as Shannon (Rutherford)
JOSH HOLLOWAY as "Sawyer" (James Ford)

MALCOLM DAVID KELLEY as Walt
DANIEL DAE KIM as Jin (-Soo Kwon)
YUNJIN KIM as Sun (Kwon)

EVANGELINE LILLY as "Kate" (Katherine Austin)
DOMINIC MONAGHAN as Charlie (Pace)
TERRY O'QUINN as (John) Locke

HAROLD PERRINEAU as Michael (Dawson)
IAN SOMERHALDER as Boone (Carlyle)

(uncredited)
and
MADISON as Vincent

Created by: JEFFREY LIEBER and J.J. ABRAMS & DAMON LINDELOF

Guest Starring
FREDRIC LANE as the marshal
MIA FURLAN as Danielle Rousseau
DANIEL ROEBUCK as (Dr.) Leslie Arzt

M.C. CAINEY as the bearded man
JOHN WALCUTT as hawaiian shirt man

Music by: MICHAEL GIACCHINO
Edited by: MARY JO MARKEY, A.C.E., / STEPHEN SEMEL
Production Designer: STEPHEN STORER

Director of Photography: MICHAEL BONVILLIAN, A.S.E.

Executive Producer: J.J. ABRAMS
Executive Producer: DAMON LINDELOF
Executive Producer: BRYAN BURK
Executive Producer: JACK BENDER
Executive Producer: CARLTON CUSE

Co-Executive Producer: DAVID FURY
Co-Executive Producer: JESSE ALEXANDER
Supervising Producer: JAVIER GRILLO-MARXUACH

Producer: EDWARD KITSIS
Producer: ADAM HOROWITZ

Producer: LEONARD DICK
Producer: SARAH CAPLAN
Produced by: JEAN HIGGINS

Written by DAMON LINELOF & CARLTON CUSE
Directed by JACK BENDER

==========================
END & OTHER CREDITS
==========================

Bad Robot
Touchstone Television

Co-Producer: RA'UF GLASGOW
Co-Producer: JENNIFER JOHNSON

Story Editor: PAUL DINI

Co-Starring:
JOHN DIXON as JD
TERASA LIVINGSTONE as Lily
SUZANNE TURNER as ticket agent

Co-Starring:
MICHELLE ARTHUR as Michelle
WENDY BRAUN as Gina
ROBERT FREDERICK as Jeff

Co-Starring:
GLENN CANNON as old scooter man
MARK "RUZ" RUSDEN as airport cop

Co-Starring:
MARK "KIWI" KALAUGHER as security agent
MARY ANN TEHENY as gate attendant (Jenna)

Casting by: APRIL WEBSTER, C.S.A.
Casting by: MANDY SHERMAN, C.S.A.
Casting by: VERONICA COLLINS

Hawaii Casting by: ANNA FISHBURN
Unit Production Manager: PAT CHURCHILL
First Assistant Director: CRAIG WEST
Second Assistant Director: RIC GROENENDAL

Costume Designer: BILLY RAY MCKENNA
Costume Supervisor: ROLAND SANCHEZ
Make-Up Artist: STEVE LAPORTE
Hair Stylist: SUSAN SCHULER

Art Director: MIMI GRAMATKY
Set Decorator: RICK ROMER
Script Supervisor: PATTI DALZELL
Property Master: DOUG MADISON
Location Managers: JIM TRIPLETT

Production Coordinator: STEVE CAINAS
Camera Operators: PAUL EDWARDS / NEAL NORTON
Chief Lighting Technician: JIM GRCE
Key Grip: CHUCK SMALLWOOD
Production Sound Mixer: MICHAEL MOORE
Stunt Coordinator: MICHAEL VENDRELL
Special Effects Supervisor: ARCHIE K. AHUNA

Supervising Sound Editor: TREVOR JOLLY
Re-recording Mixers: SCOTT WEBER / FRANK MORRONA, M.P.S.E.
Music Editor: STEPHEN M. DAVIS, M.P.S.E. / MICHAEL T. ANDREAS

Post Production Supervisor: TAMARA ISAAC
Assistant Editor: LANCE STUBBLEFIELD
Post Production Services: TECHNICOLOR CREATIVE SERVICES

Production Staff: DIANNE MAPP-CHEEK, KALEEN YAMASE, CARL BERTELMAN, BILL
HERNANDEZ, ANNA CAMENSON, STUART SOOSMAN, MIKE HIPA, BIG ED DEARMORE

Visual Effects Supervisor: KEVIN BLANK

Filmed on location on Oahu, Hawaii

The producers gratefully acknowledge the cooperation of the people of Hawaii and
their Aloha Spirit.

(c) 2005 Touchstone Television. All Rights Reserved.

Dated:06/04/2005~lky
http://anthology.webphilia.com/

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