It is an unusually cold, dark night on a quiet street in small town, SOUTH CAROLINA. SAWYER is walking down the sidewalk passing closed storefronts. He is bundled up in a jacket and wearing a toque and a pair of faded jeans. Snow is collecting on the ground, falling from the sky in a peaceful air. His cellphone goes off in his pocket, the sound echoing off the buildings. He reaches for it, looks at the details of the number, and flips it open.
SAWYER I said never to call this -
SOUTHER MALE VOICE Tonight.
SAWYER
(Beat)
Where?
SOUTHERN MALE VOICE We'll come to you.
The signal goes out. SAWYER replaces the phone back into his pocket and the sound of a car screeching causes him to turn and look up the deserted street; nothing. He turns, and continues to walk along the sidewalk.
A van slowly begins to approach him, quiet, lights off.
Aware, SAWYER reaches into his pants and slowly lifts out a
small handgun tucked into the belt-line. He tenses as the van
passes ... and nothing; it continues down the street. He
sighs and begins to put the gun back into his pants when a
black bag is thrown over his head. A pair of hands grab his
own; another reaches for his gun, taking it away from him.
SAWYER thrashes around; he is stuck by a needle, and moments
later the drugs take effect and he passes out. The van backs
up, the doors open, and TWO MEN throw him inside; the van
drives off up the deserted street.
INT. SMALL ROOM
SAWYER is sitting on a chair, passed-out, half cast in
shadow. He begins to stir and a MAN approaches his side and
takes off the black bag that is covering his head. He squints
as the little light illuminating the room rushes over his
eyes. As he regains focus, he takes in his surroundings: he
is sitting at a small table surrounded by three MEN, all of
whom are sitting quietly and appearing to be deep in thought.
Two additional MEN are standing; one of them, at the other
end of the room, begins to speak.
SOUTHERN MAN 1
Thank you for finally decidin' to
join us, Mr. Sawyer. I am so very
sorry abou' the harsh treatment,
all of you, but we had to take our
precautions. I am sure you are
aware of the circumstances to which
we are meetin'?
SAWYER says nothing.
SOUTHERN MAN 1 (CONT'D)
You are all hear for the same
purpose in the grand scheme of
things: to clear a debt, to find
someone, to protect a lover; and
you've come to me to get it. That
is what ties you all together: me.
However, whatever the reason may
be, your task is all the same.
Everyone listens intently. The SOUTHERN MAN points to a mirror at the other end of the room.
SOUTHERN MAN 1 (CONT'D)
There are very respectable men, and
women, powerful men and women,
behind that mirror who have paid
for a show. I do hope you will all
do your best to please.
The SOUTHERN MAN nods to his partner who pulls out a gun from his pants: a revolver. He begins to load it.
SOUTHERN MAN 1 (CONT'D)
This task will consist of three
bullets, placed randomly into the
chamber. Each one of you will fire,
and the last to die finishes the
game. He who wins, will walk out of
here a ... "better man" so to
speak. Are you prepared gentleman?
Good.
The four MEN sitting at the table look at each other. The SECOND SOUTHERN MAN clasps the chamber shut, spins the barrel, and places it onto the table.
SOUTHERN MAN 1 (CONT'D)
Good luck.
The two SOUTHERN MEN leave the room.
YOUNG MAN So ... who wants to go first?
Silence.
YOUNG MAN (CONT'D)
I guess I'll -
SAWYER I'll do it.
SAWYER grabs the gun. He places it to his temple, looks at the mirror, and pulls the trigger. Nothing. He passes the gun to the YOUNG MAN.
YOUNG MAN Jesus Christ!
The YOUNG MAN takes the gun and places it up to his temple,
slowly. He looks around, and hesitates. A voice echoes into
the room from a P.A. System overhead.
SOUTHERN MAN 1
C'mon now, Thomas. You can do it.
Just pull the trigger. It will all
be over in a few seconds. Your wife
will never have to know of your
debts. Your baby girl will be born
into this world free of worry. Just
pull the trigger.
The P.A. System clicks off. THOMAS hesitates a moment longer,
closes his eyes, and pulls the trigger. BAM! The bullet goes
through his head. He falls off the table and onto the floor.
The MAN next to him is covered in blood.
EXT. JUNGLE - DAY (END FLASH)
SAWYER is carrying BILLY in his arms. He is running through the jungle pell-mell, avoiding trees and often looking over his shoulder. BILLY is quiet in his arms, staring off into the sky. They speed on, and BILLY begins to sing under his breath:
BILLY Come Josephine in my flying machine. Going up she goes. Up she goes.
Whispers begin to surround SAWYER and BILLY.
SAWYER Don't listen to them!
The whispers grow, inaudible, and SAWYER strains as he focuses on his task. But soon, he detracts voices in the whispers, audible sounds.
WHISPER 1 Sawyer.
WHISPER 2 He's so fast.
WHISPER 1 Where's he going so fast?
WHISPER 2 You're on your way, Sawyer.
WHISPER 1 Or is it James?
WHISPER 2 I like Sawyer, we all like Sawyer.
WHISPER 1 SAWYER!
BILLY You can stop.
SAWYER What?
BILLY They're not behind us anymore.
SAWYER stops and turns; he looks around. The whispering has faded as well.
SAWYER What happened?
BILLY They're not chasing us.
SAWYER Why?
BILLY We have to get back to your camp.
SAWYER How -
BILLY It is where Sayid is?
SAWYER Yeah.
BILLY You don't need to worry.
SAWYER How old are you?
BILLY I don't know.
SAWYER You don't know?
BILLY I can't remember. Why?
SAWYER You don't sound like a kid.
BILLY stares at him.
BILLY We have to hurry, Mr. Sawyer.
SAWYER Right.
SAWYER continues running through the jungle towards camp.
CUT TO:
LOST
EXT. JUNGLE - DAY
DESMOND and MICHAEL are walking through a thick part of the
jungle littered with thickets of dense trees and tall grass.
The canopy overhead blocks out most of the sun.
MICHAEL Tell me something.
DESMOND Yeah?
MICHAEL I thought I was pretty hated for what I did, but you seem to be vying for the new number one position.
DESMOND
What are you going on about,
brotha?
MICHAEL
Why did Sawyer and Hurley take you?
And then on top of that just leave
you out in the middle of the
jungle?
DESMOND I don't know.
MICHAEL
So what, they thought it'd be fun?
I know Hurley and that's not like
him.
DESMOND And Sawyer?
MICHAEL That's got Sawyer written all over it.
DESMOND You two friends then?
MICHAEL Sawyer? No. I don't know.
They walk on a minute in silence.
DESMOND Hurley, he blames me for Charlie.
MICHAEL What exactly happened?
DESMOND It's complicated.
MICHAEL We got time.
DESMOND stops and turns to MICHAEL.
DESMOND
And why exactly do we have time,
brotha? Where exactly are we
heading?
MICHAEL Back to camp.
DESMOND Is that so?
MICHAEL Can you think of a safer place?
DESMOND
(Beat)
Not anymore. Why are you out here?
MICHAEL I was chasing something.
DESMOND But it doesn't matter anymore?
MICHAEL No, it doesn't.
DESMOND You're sure about that?
MICHAEL I'm sure.
They continue walking.
DESMOND Are you ready to tell me exactly who you were talking to before you saved me?
MICHAEL It was no one.
DESMOND Are you seeing stuff, brotha?
MICHAEL Are you?
EXT. THE BARRACKS - DAY
SAYID, STEVE and JIN are walking away from THE BARRACKS towards the PERIMETER FENCE. They have backpacks slung over their shoulders and SAYID is equipped with a rifle while the others carry handguns.
STEVE Sayid.
SAYID Yes?
STEVE Do you think they were coming back?
SAYID Who?
STEVE Them. The others. They left all this stuff just lying around. Why would they do that?
SAYID I don't know. But it is our small fortune.
STEVE Do you know where to start looking for them: Jack and Kate?
SAYID We find one of them.
STEVE That's it? You think they're still around? Isn't that just wishful thinking?
SAYID Do you believe in fate, Steve?
STEVE No.
SAYID You should.
JIN
(In Korean)
What if Sun is with the others who
have arrived, that they came back
and are captured?
SAYID We'll find Sun, Jin. I trust Jack to have kept her safe. And I do not believe they have been taken.
STEVE Are you sure Bernard will be okay on his own?
SAYID He will be fine.
STEVE And Claire, and Rose?
SAYID stops, turns, and claps a hand on STEVE's shoulder.
SAYID We will be safe.
STEVE Yeah, I - I know.
SAYID It's okay to be scared.
STEVE Nothing makes any sense. Why is this happening? I am scared, Sayid.
SAYID We've been here ninety days and I've never been more confused in my life. I too am scared.
STEVE smiles.
STEVE Thanks. I needed that.
SAYID You can go back if you want to.
STEVE Thanks, but I can't.
SAYID Then let's keep moving.
SAYID turns and continues on. The others follow.
SAYID (CONT'D)
And I think I've decided we should
start at the radio-tower.
EXT. STREAM - DAY
SAWYER is sitting on a large rock over a small stream which BILLY is drinking from eagerly.
SAWYER You're thirsty.
BILLY I'm very thirsty.
SAWYER Well hurry up, we need to keep moving.
BILLY But I know we'll be safe.
SAWYER Why do you think that?
BILLY She told me.
SAWYER She?
BILLY The Sun.
SAWYER I forgot you and the sun are best friends.
BILLY You need to believe me.
SAWYER I find that's going to be impossible, kid.
BILLY Why?
SAWYER Because it sounds insane.
BILLY But I showed you so much.
Silence.
SAWYER Just drink up, okay?
BILLY I'm done.
SAWYER Then let's get going.
SAWYER extends his arms.
BILLY I can walk.
SAWYER I'm sure you can, Frodo, but you'll just slow me down with those short little legs of yours.
He picks up BILLY and walks over the stream and continues through the jungle.
BILLY Who's Frodo?
SAWYER What?
BILLY I'm Billy.
SAWYER I know. It was ... an insult.
BILLY Why?
SAWYER
What's with the twenty questions,
kid? I don't know. I'm well versed.
EXT. STREET - DAY (FLASH)
A black van pulls up to the side of MAIN STREET in the small,
southern town of BEAUFORT, SOUTH CAROLINA. Today is warmer,
and the rare snow has melted. The sliding door opens and
SAWYER is thrown out with his head covered in a black bag. A
MAN inside the van tosses him an envelope and closes the
door. The van drives off. SAWYER rips off the black bag,
grabs the envelope, and gets up.
KIND MAN Jesus Christ! Are you okay?
SAWYER Piss off!
SAWYER pockets the envelope and pushes past the KIND MAN and begins to saunter down the sidewalk towards a pay phone. He catches his breath, thinks for a moment, and then lifts the receiver, puts in a quarter, and dials a number.
KATE Hello?
SAWYER Sarah?
KATE James?
SAWYER How are you?
KATE Where are you?
SAWYER I'm in Toronto.
KATE Really?
SAWYER Yeah, look I'll be home in a couple of days. How's Megan?
KATE She's fine, James.
SAWYER Good ... good.
KATE Are you okay?
SAWYER Yeah, I'm fine. I'll see you in a couple of days. Kiss Megan for me.
He hangs up the phone and turns into a narrow alley at the
next block. He leans against a brick wall, composes himself,
and pulls out the envelope. He opens it and pulls out a piece
of paper. He examines the paper then folds it up and puts it
back into his pocket. He sighs, and looks around the street.
On the opposite side, in another narrow alley, SAWYER spots a DISHEVELED MAN putting a piece of paper into his pocket and sighing. The man turns to SAWYER, smiles, then proceeds out of the alley. He looks both ways and begins to cross the street when suddenly he is hit by a mail truck and thrown down the road. SAWYER begins to back up, a look of shock written on his face. People nearby scream and call out for a doctor.
SAWYER exits the alley, cautious of his surroundings, and looks around. He begins to cross the street, stops, then backs up just in time as a another truck drives by, honking.
DRIVER Watch it!
SAWYER shakes it off. Across the street a MAN rushes to the DISHEVELED MAN hit by the mail truck.
JACK Back up! Everybody back up! I'm a doctor! I need room!
SAWYER Jack?
SAWYER crosses the street and reaches JACK; he kneels down in front of him.
SAWYER (CONT'D)
Jack?
JACK Sawyer?
SAWYER What -
JACK What the hell are you doing here?
SAWYER Me?
JACK Look, back up, I need room!
JACK looks down at the DISHEVELED MAN covered in blood.
JACK (CONT'D)
You're going to be okay, do you
hear me? Hey! No, look at me.
You're going to be okay. Damn it!
Where the hell is the ambulance?
SAWYER stands up, looks around the street, and takes in the chaos.
EXT. JUNGLE - DAY (END FLASH FORWARD)
ALEX and CARL are cuddled together in a thick copse. They are
covered by dense foliage and kept cool by a thick canopy.
They hold each other tightly, both weighed down by heavy
eyes.
ALEX Carl?
CARL Yeah Alex?
ALEX What did I do?
CARL Nothing. You did what you had to.
ALEX Was it right?
CARL Don't keep questioning every choice you make, Alex. You did what you had to.
ALEX
Ever since we took Ford and Austin,
and Sheppard, things have been
falling apart. I don't have a
father, but I have a mother? I
don't know even know if I can trust
her. And I've already ruined it.
CARL Hey, everything is going to be okay, you hear me?
He kisses her on the cheek.
ALEX You're always here, aren't you?
CARL
I'm always here, Alex. If you want
to sleep, you can. I'll be here,
and no one will find us.
ALEX I know, thank you.
CARL Everything is going to be okay.
They are quiet for a moment.
ALEX Carl?
CARL Yeah Alex?
ALEX Do you think we should go look for her?
CARL Your mother?
ALEX Yeah.
CARL No Alex. No more looking back. The choices we've made are what we have to go by.
ALEX What if she's hurt?
CARL
She's managed for all these years,
I'm sure she'll manage now. This is
our story, Alex.
ALEX Carl?
CARL Yeah?
ALEX I love you.
CARL I love you too, Alex.
EXT. JUNGLE - NIGHT
ALEX wakes with a freight. She is alone in the copse, CARL is nowhere to be seen. She stands up, looks around, and begins to shout for him.
ALEX Carl?! Carl, where are you?!
The wind picks up, whispers encroach the scene. ALEX throws
her hands over her ears and begins to shake back and forth.
Startled, she looks up and sees DANIELLE standing in front of
her, covered in blood.
DANIELLE Look what you've done, Alexa!
EXT. JUNGLE - DAY (END DREAM)
ALEX NO!
ALEX wakes with a start, panting, and covered in sweat.
CARL Hey, it's okay. It was just a dream.
She turns to CARL and begins to hug him tightly, crying into his shoulder.
CARL (CONT'D)
Shh, it's okay. You're okay now.
EXT. PERIMETER FENCE - DAY
SAYID, JIN and STEVE arrive at the PERIMETER FENCE. SAYID raises his rifle; the others raise their handguns.
STEVE What do you we do?
SAYID Do not listen to a word they say.
On the other side of the fence is a group of twenty people:
male and female. They begin to call out to them.
MAN Sayid!
MAN 2 Jin!
SAYID (CONT'D)
Stay where you are! Do not come any
closer to the fence, you will be
killed by it's effects!
MAN Sayid! What are you doing? Let us in! Thank God you're here, all of you.
SAYID and the others approach the fence.
SAYID I cannot do that, Matthew.
MATTHEW Why not? We've been running around in that jungle for days now! We saw this fence ... and ... and now we see you on the other side! It's got to be safe there, hasn't it?
SAYID It is safe, yes.
MATTHEW Then why won't you let us in?
WOMAN Yeah!
MAN Yeah, c'mon!
MATTHEW We're starving, we're tired, the sick are chasing after us. They're not far behind, Sayid!
SAYID And how can I trust that you are not sick?
MATTHEW Do I look sick? Do I sound sick?
SAYID That is not enough.
MATTHEW
Then what is? What do you want us
to do, we'll do it? Please Sayid!
You can't leave us out here like
this! We're not animals! We're
human beings!
SAYID Enough!
MAN 2 No! It's not enough! Who are you to judge us, terrorist?!
MAN 3 Yeah! Back off, let us in!
WOMAN 2 Please! Jin! Steve! After everything we've done around the camp! You know us! We're not sick!
SAYID starts to back away from the fence.
SAYID Everyone back up, now.
They all begin to pace away from the fence.
STEVE Are they sick?
SAYID I don't know.
JIN What ... we do?
SAYID We need to find another way out.
STEVE We can't just leave them here.
SAYID They are playing games with our minds.
STEVE
But what if they aren't sick,
Sayid?
SAYID And what if they are? Do you want to take that risk?
Gun fire can be heard coming from the jungle behind the congregation of people.
MATTHEW Do you heat that?! They're coming Sayid! Let us in! Please!
SAYID and company watch the congregation, lost for words.
INT. THE TEMPLE - DAY
JACK, KATE, SUN and JULIET are held captive in a prison cell inside THE TEMPLE. Chanting can be heard coming through a pair of double doors at the end of the room. JACK is sitting next to KATE.
JACK How are you feeling?
KATE I'm fine.
He looks at her closely.
JACK You need water.
KATE I'm fine, Jack.
JACK Kate, I'm a doctor.
She forces a smile.
KATE Maybe a little water.
JACK stands up and walks to the bars of the cell.
JACK Hey! We need water in here! I know you can hear me! Hey!
JULIETTE Jack, stop.
JACK Stop? Look where they have us. They lied to me, Juliet.
JULIET They didn't lie.
JACK Really? Look around.
JULIET
You're not welcome in the room,
Jack, and they don't want you free
to look around.
JACK And why is that, Juliet?
JULIET Because this place is Holy, it's sacred.
JACK Then why are you in here with us and not out there?
JULIET I don't know, maybe because I betrayed them?
JACK Right.
JULIET They're almost done.
JACK turns towards SUN and kneels down to her.
JACK How are you holding up?
SUN I am okay, Jack.
JACK The baby?
SUN The baby is fine.
JACK I'm going to get us out of here.
SUN I don't think they want to hurt us.
JACK stands; he begins to pace.
JULIET Maybe you should rest, Jack.
JACK I'll rest when we get off this island. By now they're probably looking for us.
JULIET Have faith.
JACK Have faith? There are people dying out there! Or worse, I don't even know what they're dying of. A parasite? No. That doesn't make sense, I'm sorry.
KATE Jack, it's okay.
JULIET Trust me.
JACK stares at JULIET, then turns and sits next to KATE.
INT. DINER - NIGHT (FLASH FORWARD)
SAWYER and JACK are sitting at a small booth in a tiny, old
fashioned diner in BEAUFORT, SOUTH CAROLINA. The day is over
and young night envelopes the town. Laden on their table are
napkins, saucers, cups of coffee, and plates with crumbs.
JACK is staring out the window, lost in thought.
SAWYER It wasn't your fault, Jack.
JACK turns to face SAWYER. He glares at him.
JACK What are you doing here, Sawyer?
SAWYER
(Beat)
I'm looking for something.
JACK And did you find it?
SAWYER Yeah.
JACK What price did you have to pay?
SAWYER Nothing I couldn't handle.
JACK I almost forgot you're good at handling almost anything, aren't you?
SAWYER Fate's been good to me.
JACK I never pegged you for a man of faith.
SAWYER I wasn't.
JACK
Why aren't you with her, Sawyer?
How long has it been this time?
SAWYER Are you spying on me, Jack?
JACK No. But I know she's not here.
SAWYER
She's fine. You need to stop
worrying about her. She's not part
of your life anymore, and she can't
be, "Mr. Hero." Why are you here,
Jack?
JACK turns and looks back out the window.
JACK I came here looking for Claire.
SAWYER Your sister.
JACK You're not the only one looking for someone.
SAWYER Did you find her?
JACK Not yet.
SAWYER After everything that happened with her and ... Charlie.
JACK turns back to SAWYER.
JACK I wasn't there for her, Sawyer.
SAWYER You're still alive. You've got time.
JACK You've changed.
SAWYER Not enough.
JACK
(Beat)
What are you looking for?
SAWYER Answers.
JACK To what questions?
SAWYER Do you think we met here by coincidence?
JACK What?
SAWYER
Coincidence. We didn't, Jack.
There's a reason to this, like
there is a reason to everything.
JACK What reason?
SAWYER We're all puppets, designed for a purpose we'll never know, but one we can be aware of if we open our eyes.
JACK Open our eyes? Fate isn't real. Who fed you that?
SAWYER It's not like that. I was shown.
JACK Go home, Sawyer. Be with her.
SAWYER Sorry, Doc, can't do that just yet.
SAWYER gets up, reaches into his pocket, and throws some cash onto the table.
SAWYER (CONT'D)
Good luck, Jack. And clean yourself
up, you look like crap.
He turns and walks out of the diner.
EXT. JUNGLE - DUSK (END FLASH FORWARD)
SAWYER and BILLY walk slowly along through the jungle, hand in-hand. The sun is beginning to set.
BILLY Mr. Sawyer?
SAWYER What?
BILLY Are we close?
SAWYER I don't know, kid.
BILLY It's getting dark.
SAWYER Thank you, Timex.
BILLY What's Timex?
SAWYER I let you walk so would stop asking so many questions. Okay?
BILLY Sorry.
SAWYER Okay then.
SAWYER lets go of BILLY's hand and BILLY starts pacing
forward more quickly. A yelping voice echoes off the trees.
SAWYER stops.
BILLY What's -
SAWYER Quiet!
They stand still; SAWYER looks around the jungle. The sound of the ground being disturbed raises sharply in his acute ears.
SAWYER (CONT'D)
(Whisper)
Come here!
BILLY runs to SAWYER who picks him up; he puts a finger to his lips.
SAWYER (CONT'D)
Quiet now.
They quietly begin to walk to a small copse for cover. They stop. SAWYER turns. Walking through the jungle, along, yet away from him, are a group of shadows, human-like in form.
SAWYER (CONT'D)
What the hell?
The shadows stop and turn to him. Loud whispering picks up,
the shadows convene and point to SAWYER and BILLY.
WHISPER 1 Hey, it's Sawyer!
WHISPER 2 And Billy!
WHISPER 1 They're close.
WHISPER 2 Yes, yes!
The shadows wave, turn, and then begin to run in the opposite direction.
BILLY It's okay, Mr. Sawyer.
SAWYER You saw that?
BILLY nods.
BILLY They're friends.
SAWYER turns and stares where the shadows were a moment ago.
EXT. JUNGLE - DUSK
ALEX and CARL still lay hidden in the copse; they are sound asleep. CARL stirs, looks around, and gently nudges ALEX awake. She stirs, and then snaps awake.
ALEX What's wrong?
CARL Nothing. We're okay.
ALEX It's getting dark.
CARL We need to decide what to do.
ALEX What do you mean?
CARL Do we go back home, or -
ALEX Join them?
CARL Yeah, I don't think anyone back home is going to be happy with seeing us.
ALEX They're at the temple. We don't even know where to look for the others?
CARL If they're at the temple, we can go home and grab supplies.
ALEX The Barracks?
CARL Why not? If the others are looking to hide, I'm sure they would have remembered to go there.
ALEX Maybe. But what about the fence?
CARL We have the password.
ALEX They don't.
CARL No, so maybe they need our help?
ALEX So then we join them?
CARL It's safer than anything else.
ALEX Alright.
CARL Alright?
ALEX Yeah, let's go.
CARL Okay.
They slowly get up, look at each other, and hug.
EXT. JUNGLE - DUSK
DESMOND and MICHAEL continue trekking through the jungle.
MICHAEL So you had visions?
DESMOND
I told you it was complicated,
brotha.
MICHAEL No, I believe you.
DESMOND You do?
MICHAEL Look where we are, man?
DESMOND laughs.
DESMOND I guess you're right.
MICHAEL And you've been seeing some old lady?
DESMOND Aye. And you've been seeing a burning man?
MICHAEL Yeah.
They laugh.
DESMOND It's ridiculous.
They continue laughing, but abruptly stop.
DESMOND (CONT'D)
Do you see that?
MICHAEL Yeah. Hey! You guys!
DESMOND and MICHAEL begin to run toward a young couple who are dancing together in the middle of the jungle; they stop just before them.
MICHAEL (CONT'D)
Are we glad to see -
MAN How long do we have?
WOMAN I don't know. I don't want to lose you.
MAN You won't lose me.
MICHAEL and DESMOND continue watching the young couple as if in a trance.
WOMAN They'll find us.
MAN And take us.
WOMAN But we'll never be apart?
MAN Never.
WOMAN I love you, Jacob.
JACOB I love, Annie.
MAN 2 Hey! They're here! I've found them.
JACOB Don't run.
JACOB and ANNIE hug. A group of men appear around them, pry them apart, and begin to drag them away from each other.
JACOB (CONT'D)
I love you Annie! I love you!
They take JACOB through the jungle. As they begin to drag ANNIE away, a voice calls to them.
MAN Wait!
MAN 2 Sir?
BEN appears through the dark like a shadow and approaches ANNIE with a tear in his eye.
ANNIE Ben.
BEN Why Annie?
ANNIE I'm sorry, Ben.
BEN Is that all?
ANNIE Don't hurt him!
BEN What kind of a man do you think I am?
ANNIE I'm so sorry.
He slaps her.
BEN Take her.
The men begin to drag ANNIE away.
ANNIE Ben! Please! Ben!
BEN turns and walks away. MICHAEL and DESMOND slip out of their trance and fall to the ground. They stir, and look around; the jungle is quiet.
EXT. PERIMETER FENCE - DUSK
SAYID, JIN, STEVE and the 815 survivors are crowded around the PERIMETER FENCE.
MATTHEW Have you decided Sayid? We don't have any time left!
STEVE We have to do something. I don't think they're sick.
JIN Do ... you ... know?
SAYID None of the sick I saw are here.
MATTHEW That's good, isn't it?!
SAYID Maybe.
MATTHEW Maybe?! Sayid, look where we are!
SAYID How did you know about the fence?
MATTHEW What?
SAYID You just never happened to test it this entire time?
MATTHEW Are you serious? David ran through it!
SAYID And where is David's body?
MATTHEW About half a mile West of here!
SAYID Convenient.
MATTHEW Go and look if you want!
SAYID You'd like me to, wouldn't you?
Gun fire echoes in the distance, closer to the fence.
MAN They're here! They're here!
WOMAN For God's sake let us in! Please!
The gunfire roars louder.
STEVE Sayid!
The crowd agitates, people begin scream, the gunfire continues.
MATTHEW Sayid!
SAYID snaps out of his reverie. He runs to the digital-pad,
tampers with the wires, and the fence powers down.
SAYID Move! Now!
Everyone on the other side of the fence rushes through.
SAYID (CONT'D)
Is that everybody?!
MATTHEW I don't know! Close it! Hurry!
SAYID Get back!
Everyone backs away from the fence; SAYID turns the beams back on. A group of MEN run up to the fence on the other side with guns pointed at him.
MAN Wait! Don't shoot! We need him alive!
MAN 2 You're lucky, Arab man.
SAYID backs away from the fence.
SAYID What do you want?
MAN Give us the kid.
SAYID Aaron?
MAN 2 What do you think?
MAN They don't know.
SAYID Know what?
MAN We beat them here. Call it in.
MAN 2 One of your friends has a little boy with him. We want him back. And we'll do whatever it takes to get him.
SAYID What are you talking about?
MAN 2
Just know we have your fat friend.
If you are protecting them, we'll
find a way in. We'll come for you
all.
The MEN slowly back away.
MAN Stick around, we'll be in touch.
EXT. JUNGLE - NIGHT
BILLY and SAWYER are hidden in a brush of tall grass. They are sitting against a smooth, round boulder.
BILLY Did you hear that?
SAWYER Gunfire. Yeah, sounds like we're close to home.
BILLY I don't know if we'll be safe anymore.
SAWYER What?
BILLY The sun isn't singing.
SAWYER
She's gone down for the night kid.
We're sleeping here. Go to sleep.
BILLY Are you gonna stay?
SAWYER Yeah kid.
BILLY All night?
SAWYER looks down at BILLY.
SAWYER Yeah, all night. Now get to sleep.
BILLY smiles up at SAWYER and closes his eyes.
BILLY Good-night, Mr. Sawyer.
SAWYER
(Beat)
Yeah. You too.
EXT. HOUSE - DAY (FLASH FORWARD)
SAWYER is standing in front of a small house in NEBRASKA. He knocks on the front door and takes a step back on the vestibule. The door opens; CASSIDY answers it. She stares at SAWYER, bewildered.
CASSIDY You found me.
SAWYER You're a hard person to track down.
CASSIDY That's because I'm in protective custody.
SAWYER Because of me?
CASSIDY Among other things. What are you doing here, James?
SAWYER I came to see my daughter.
CASSIDY
She's not here. She's at school.
You do remember kids are at school
in the afternoon, right?
SAWYER Can I come in?
CASSIDY I don't think that's a good idea.
SAWYER C'mon, Cas.
CASSIDY You're still on the run with her aren't you?
SAWYER Does it matter?
CASSIDY Of course it matters!
SAWYER I have to see her.
CASSIDY You want to be in her life all of a sudden?
SAWYER
All of a sudden? In case you
forgot, I haven't been around much,
lost on mystery-fricken island.
CASSIDY I'm being watched.
SAWYER What?
CASSIDY You have to leave. I'll contact you.
SAWYER
(Beat)
Where?
CASSIDY Black car. Run, Sawyer.
SAWYER takes one last look at CASSIDY and bolts off the vestibule. A few yards away, parked on the curb, is a black car whose doors fly open and two MEN in suits give chase after him. SAWYER smashes through a fence, climbs over another, and takes off up the next street. He runs to a beat up old cadillac, turns the key in the ignition and drives down the street. The MEN in suits pull out guns and fire at the windshield. SAWYER ducks down, fly's past them and continues on. The MEN stop firing and stare after him.
INT. THE TEMPLE - NIGHT (END FLASH FORWARD)
JACK, KATE, SUN and JULIET are all sitting around in the jail
cell. The chanting continues on behind closed doors. A moment
after no change, the doors open and people start filing out.
One man approaches the cell.
MAN You?
Everyone looks up at the man who is pointing at JACK.
JACK Yeah?
MAN Richard wants to see you.
JACK Then you can tell him to come out here. I'm sure he'll be able to find me.
MAN Now.
JACK Or what, you're going to hurt us?
MAN Exactly. And we'll start with your pretty girlfriend too. How about it? You wanna play smart or just wanna get up and come with me?
JACK takes a moment, looks at KATE, then stands. He approaches the front of the cell. The MAN takes a key out of his pocket and opens the cell.
JACK This way.
He leads JACK through the double doors into a small chapel filled with lit candles and ornate tapestry. RICHARD is sitting at a small tables raised on a small dais.
RICHARD Thank you, Max.
MAX nods, turns, and leaves the chapel, closing the door behind him.
RICHARD (CONT'D)
I'm sure you have a lot of
questions.
JACK What is this?
RICHARD What does it look like?
JACK So it is a chapel?
RICHARD I'm afraid we are running out of smoke and mirrors, Jack.
JACK You wanted to see me?
RICHARD I did, yes.
JACK Well what do you want?
RICHARD
Do you believe in eternal life,
Jack?
JACK No.
RICHARD What if I told you it was possible?
JACK I'd say you're playing another game with me.
RICHARD How old do you think I am?
JACK What does it matter?
RICHARD Everything.
JACK Is this what you want from me?
RICHARD It's time you learned something about this island. But I need to know if you're ready for it.
JACK I don't want to know anything about this island. I want to get off this island, and I never want to think about it again.
RICHARD I think you'll change your mind.
JACK I forgot, you people seem to think you know everything about me.
RICHARD But we do, Jack.
EXT. JUNGLE - NIGHT
LOCKE and BEN are running through a clearing towards the
dense jungle on the other side. They are covered in cuts,
dirt, and debris.
BEN You don't know what you're doing John! Stop! Jacob does not have the answers!
LOCKE stops and turns to BEN who also stops.
LOCKE We're ending this.
BEN You can't trust him, John! He's a liar and a thief! You can't understand him.
LOCKE But you do?
BEN No. No one does, John. You're following the voice of a murderer.
LOCKE He has the answers.
BEN I have the answers!
LOCKE You're wrong.
LOCKE turns and continues running, ignoring BEN and advancing towards the jungle.
BEN John!
EXT. BUS STATION (FLASH FORWARD)
Inside a busy BUS STATION, SAWYER arrives at a pay-phone and lifts the receiver. He drops a quarter into the slot and dials a number.
KATE Hello?
SAWYER It's me.
KATE James?
SAWYER Yeah.
KATE Are you okay?
SAWYER Fine.
KATE Where are you today?
SAWYER I'm still in Toronto. I'm coming home.
KATE Tell me something?
SAWYER Sure.
KATE
(Beat)
What are you looking for, James?
SAWYER
We'll talk when I get back, okay?
I'll see you in a bit. Kiss Megan
for me.
He hangs up the phone and turns around, running into a young woman with her child.
YOUNG LADY Oh, I'm sorry. I wasn't - Sawyer?
SAWYER Claire?
CLAIRE What are you doing here?
SAWYER Just ... visiting. You're in Nebraska?
CLAIRE For now.
SAWYER What do you mean?
CLAIRE Nothing.
He looks down at the little boy clinging to his mother.
SAWYER Is that Aaron?
CLAIRE Yeah.
SAWYER
(Beat)
Listen, Jack is looking for you.
CLAIRE Jack?
SAWYER Yeah. He's looking for you in South Carolina.
CLAIRE
I need you to find, Jack, Sawyer.
You need to give him this address.
She takes out a piece of paper and pen and begins writing on it. Finished, she hands it to SAWYER.
SAWYER Are you okay?
CLAIRE
Just find him; I've got to go.
C'mon Aaron. Thank you Sawyer.
She grabs Aaron, lifts him, and walks deeper into the busy station. SAWYER opens the folded paper and reads it. He looks up and begins to wend his way through the station, agitated.
SAWYER Claire? Claire?!
INT. HOUSE - NIGHT (END FLASH FORWARD)
CLAIRE is asleep in bed with AARON lying next to her. It is dark. Her bedroom door opens slowly and a shadow filters across the room. An arm stretches out and taps her. She stirs, opens her eyes, and jumps back, startled.
CLAIRE Charlie?!
CHARLIE stands over CLAIRE's bed. He puts a finger to his lips, and waves her down.
CHARLIE Shh, Claire. It's not safe.
CLAIRE What - what are - I heard you were dead, Charlie.
CHARLIE Dead? Who told you that?
CLAIRE Desmond.
CHARLIE
Desmond's wrong. I mean, here I am?
We have to go, Claire. It's not
safe anymore for Aaron. It's time
to get you home.
CLAIRE Home?
CHARLIE Trust me, Claire. I'm here to protect you. I know a way out!
CUT TO:
L O S T