"Hearts and Minds"
Carlton Cuse & Javier Grillo-Marxuach
EXT. JUNGLE - PATH TO NEW BEACH - DAY 5
JACK walks the path from the NEW BEACH toward the caves. As
he walks, Hurley catches up with him.
Something... kinda important I been
meaning to ask ya about...
Anything I tell you... it's
Doctor/Patient stuff --
Jack just looks at Hurley. Of course.
Okay -- Thing is? I haven't really
been feeling too great...
What's the matter?
It's sort of like... my stomach?
I've got some major... digestive
Jack nods, falling into DIAGNOSTIC MODE. Throughout the
following, Hurley keeps PICKING LEAVES. Feeling their
textures, keeping some, discarding others.
What have you been eating?
Just some bananas... mangos...
papayas... guavas... passion
...and some of those weird star
fruit from up on the hill. Someone
said they were good for digestion.
But lemme tell ya... they lied.
5 (CON T'D): 5
It might help if you had some more
protein in your diet.
Dude... What can I do? There's no
boar. No boar, no protein.
You can eat fish. Jin's catching a
lot of `em.
That guy has it in for me.
Jack gives Hurley a look. Laughs good-naturedly.
C'mon, Hurley --
I'm not kidding. He offered me
something to eat right after we --
you know -- got here. The thing
with the spikes.
Yeah, sea urchin. I turn him down
and it's like I soiled his family
honor or something. He hasn't
looked me in the eye since. Guy
holds some kinda serious grudge.
Hurley STOPS. Suddenly panicky. Fiddles with the pile of
leaves in his hand -- which Jack notices for the first time --
You're not eating those, are
Dude. These are not for eating.
The change of expression completely overtakes Hurley's face.
5 (CON T'D): (2) 5
And with that, Hurley runs off into the bushes. As Hurley
scurries off to do his business, now Jack gets what the
leaves are for. Jack continues on down the path.
EXT. JUNGLE - PATH TO NEW BEACH - FURTHER AHEAD - DAY 6
KATE is bending down gathering something from the jungle,
putting it into a towel bag.
Jack SEES HER as he walks along the jungle path. He stops to
She moves along, collecting more stuff. He follows, keeps
watching her. Moving in tandem -- until --
(without ever looking up)
I see you there, y'know.
Jack plays it off. They are tentative at first. Seeing
where they stand with each other.
I wasn't hiding.
He moves closer to her, still curious. What's she up to?
I just didn't want to disturb you
from doing... whatever it is you're
It's not like it's a secret.
Hard to tell with you.
Kate shoots Jack a sour look -- Jack decides maybe today's
not the day for this and gives in. He moves over to her.
This woman is magnetic to him -- despite their issues. He
sees what she's holding.
Oh, gross little greyish yellow
Passion fruit seeds.
What are those for?
6 (CON T'D): 6
I'll show you... if you wanna see.
Kate smiles, and heads deeper into the jungle.
(simply, no innuendo)
Intrigued now, Jack walks after her...
7 EXT. JUNGLE - DAY
Jack follows Kate through the jungle --
Please tell me you found a coffee
Into an OPEN CLEARING where they find --
A GARDEN. Nothing's growing yet, but seeds are being
planted, by SUN, in neatly arranged rows. Sun looks up, sees
Jack and smiles modestly.
And although it's just a start, we are struck - along with
Jack - that this garden, this GROWING OF FOOD, is a symbol of
the castaways taking another step in CULTURE BUILDING.
When did you do this?
I didn't. It's all Sun. I
wandered into this place yesterday
when I was out picking fruit.
(over to Sun)
This is beautiful. It's great.
She's got herbs and some lowgrowing
stuff over here. And she's...
starting a grove over there...
7 (CON T'D): 7
Sun gives Jack a little smile and nod of appreciation,
pretending she doesn't get the words but gets the intent. Of
course, LOST's loyal followers know otherwise.
He wanders around looking at the rows.
7 (CON T'D): (2) 7
This is smart. With the boar
running out, we're gonna need all
the food we can get.
Maybe it's not running out.
What do you mean?
Maybe Locke's just decided not to
catch `em for us anymore.
Jack throws her a look -- is she kidding?
Why would he do that?
Lotta mouths to feed. If the
boar's thinning out, why should he
feed everyone else at his own
She must be kidding.
Jack shakes his head, smiles.
You've got yourself some trust
issues there, don't you, Kate?
She smiles back --
Yup. And in a few weeks, I'll have
trust issues and lettuce.
And with that, Kate kneels down and gets to plantin'. And as
we LINGER on Jack -- thinking about what she said -- his
smile compromised by seeds of DOUBT...
EXT. JUNGLE - HATCH CLEARING - DAY 8
Locke and Boone have cleared the area around the hatch. The
rectangular hatch is SURROUNDED and ENCASED IN --
I think it's cement.
8 (CON T'D): 8
Boone is fixated and fascinated, walks around staring at the
hatch from various angles.
Locke sits nearby, completely FOCUSED on the hatch as he goes
about mixing a FUNKY DARK PASTE in a WOOD BOWL, mashing in
some jungle herbs. Boone takes notice --
What is that?
In the bowl? What is that stuff?
It's for later.
That's all he's getting. So Boone settles down next to
Locke. Locke continues to stare at the hatch. Finally,
after a few beats --
So... not to be difficult or
anything but... we've been coming
out here for two days and... just
staring at this thing. I don't get
what we're supposed to be doing.
Michelangelo's father. He was a
wealthy man who had no
understanding of the divinity in
his son. So he beat him. No child
of his was going to use his hands
for a living.
So Michelangelo learned not to use
On Boone, wondering where this is going. PUSHING IN on Locke
as he continues --
8 (CON T'D): (2) 8
Years later, a visiting prince came
into Michelangelo's studio to find
the Master staring at a single
eighteen foot block of marble. The
rumors he had heard were true --
that Michelangelo had come in every
day for the past four months,
stared at the marble, then gone
home for supper. So the prince
asked him the obvious -- "What are
you doing?" And Michelangelo
turned around. Looked at him. And
Locke finally takes his attention off the hatch, turns to
Boone, smiles --
Three years later that marble block
was the statue of David.
A long beat. Then:
Boone's like HUH, what the fuck?!
...you're not... we're not gonna
stare at this thing for four
months, are we?
How are we gonna open it?
Locke looks at Boone like he's finally getting the point.
That's what we need to figure out.
That's why we're sitting here.
Locke walks over and SQUATS DOWN next to the HATCH.
Because... how do you open a hatch
that has no handle. No latch. No
discernible way of opening it?
Boone takes in THAT conundrum.
Maybe we should just knock.
8 (CON T'D): (3) 8
It takes a long beat... but Locke finally turns to Boone and
smiles at him. And off BOONE, we CUT TO:
INT. SHANNON'S BUNGALOW - SYDNEY - DAY - FLASHBACK 9
Boone KNOCKS on the door of a modest and funky rental. There
is even a rental sign in the window.
The door swings open to reveal a guy named BRYAN, Australian,
around 40, handsome, but with a dangerous edge. He gives
Boone the once over.
I'm looking for Shannon...
And you are?
Bryan doesn't get any friendlier. But he does swing the door
open. Boone steps inside. And then Shannon appears from the
other room getting ready to go out.
Shannon seems totally surprised to see him. It's weird. No
hugs. No greetings. Just a startled stare.
Shannon? What's going on...?
What do you mean?
It's like she forgot that she ever called him.
What are you doing here?
Boone isn't sure what to make of his sister's cautious, not
too friendly behavior.
Fifteen hours. I was on a plane
for fifteen hours. "Good to see
9 (CON T'D): 9
you", "happy you're here". How
about something like that?
I'm just surprised --
You're surprised? How are
you -- You told me to --
Shannon looks from Boone, to Bryan -- who stays fucking
inscrutable -- then back to Boone.
Listen, this isn't the best time.
Bryan and I, we're on our way out
to meet some friends, and we're
already like forty-five minutes
It's clear from Shannon's eyes that something is wrong, and
her eyes plead this is neither the time nor the place to
address it, not with Bryan standing here in front of them.
Why don't you call me tomorrow?
She brushes her hair away to REVEAL a slight BRUISE on her
forehead. Her hair falls back over it.
OFF BOONE -- realizing that something is rotten here, but he
is not going to be able to save his sister just yet.
Enjoy your dinner.
EXT. BEACH - DAY 10
JIN carries his fishing gear across the ocean side lava
rocks, turns back -- what the hell? SEES Hurley scrambling
Jin! Yo, Jin! Alto!
Jin doesn't want anything to do with Hurley, but Hurley
buttons him --
10 (CON T'D): 10
Look. I know you don't like me.
`Cause of that sea urchin thing.
Hurley takes a moment to catch his breath, Jin waiting
And that's okay, dude. Because I'm
not asking for favors or anything.
I just need to know -- where do you
get the fish?
(pantomimes swimming fish)
Just point me in the right
direction. I'll take care of my
own business, with my own tools.
Hurley holds up the spear he used in episode 102. Mimes
Jin BURSTS INTO LAUGHTER --
(in Korean, no subtitles)
I have no time for amateurs. Just
stay out of my way.
You just said something mean,
Jin LAUGHS again, walks off. Hurley watches him go -- fine --
he'll do it himself.
EXT. JUNGLE - HATCH CLEARING - DAY 11
Locke and Boone pack up their shit, start humping it down
their secret trail back to the camp.
We've got to tell them.
Tell them what?
(isn't it obvious)
What we found -- y'know -- it.
Boone's trying to keep up; Locke's walking fast.
11 (CON T'D): 11
They aren't going to keep believing
we're out here hunting if we never
come back with anything.
They're not ready.
But -- I mean -- why not?
Because they won't understand it.
...I'm not sure I understand it.
That's the problem.
Boone finally gets to the heart of the matter for him.
Look, at least I need to say
something to Shannon.
What do you mean "why?"
She's my -- -- Why do you care about her
Boone stops. Kind of... OFFENDED by this.
You don't... She's not always...
You don't know her, man.
A beat. Then Locke shrugs, nonchalant --
She's been asking me what we're
doing out here. I can't keep lying
11 (CON T'D): (2) 11
You can't keep lying to her? Or
you can't stand the way she makes
you feel because you're lying to
(beat, the fuck?)
Both. Whatever. Look, she can
keep a secret.
Yeah, for sure--
No, I mean are you sure you want to
I need to get her off my back. She
keeps bugging me about this --
about you -- about this whole
Boone looks over at him, awaiting his verdict.
You sure you've thought through the
Then so be it.
And with that, Locke flips one of his knives into his hand
and uses the BUTT END to viciously SLAM BOONE in the HEAD.
Boone drops, folding to the ground. Locke stands over him
with a look on his face that says he has a plan for this
CUT TO BLACK:
END OF ACT ONE
EXT. JUNGLE - DAY 12
Boone's eyes SNAP open --
-- he tries to shake the miasma of confusion and pain from
his head -- but he is still stunned from Locke's blow -- and
as he tries to figure out what just happened --
-- PULL OUT TO REVEAL Boone: tied to a tree -- in a strange
configuration of ropes strung around its trunk and branches.
Boone scans the clearing -- finds what he is looking for:
ANGLE ON LOCKE -- sitting on a stump. Not answering -- not
even turning. Holding the paste he was mixing earlier.
What is this? What are you--
But Locke just stares. It is beyond creepy.
-- hey! D'you hear me? Look at
me! Hey, you untie my right now!
Locke slowly turns to look at Boone, then:
Locke holds Boone's eyeline, unbending. Boone has no answer,
so he breaks the stare -- his desperation growing:
Look, I promise -- I swear --
But Locke says nothing. Boone's desperation grows.
I won't tell anyone about that --
hatch thing -- okay?
Locke's tone is warm and tender -- a teacher, not a
12 (CON T'D): 12
I'm doing this, Boone, because it's
time for you to let go of some
things. Because it's what's best
for you. And I promise --
You're gonna thank me for this
And the look on Boone's face says what we're all thinking:
Holy shit! This guy is fucking nuts!
Hey, you know what...? I don't
think this is best for me.
Locke steps up to Boone, starts spreading the paste over the
raw spot on Boone's head where Locke conked him.
What is that stuff? -- What are you
An open wound out here? Without
treatment, it's gonna get infected.
As if a fucking infection is Boone's problem right now.
What the hell are you talking
about, man? You're not leaving me
Whether you stay is up to you.
Locke steps back.
The camp is four miles due west.
What -- West? Which way is west?!?
Locke just shakes his head -- EXACTLY. And after a beat, he
turns. And walks away.
Boone strains against his ropes --
12 (CON T'D): (2) 12
(no response; Locke just
Locke turns back -- holding a knife -- Holy Shit! -- and
suddenly -- ZZZZZIP -- THWOCK! He THROWS THE KNIFE -- right
toward Boone -- who clenches his eyes shut as the knife
buries itself into the tree inches from his bound feet!
You'll be able to cut yourself
free. Once you have the proper
And with that Locke vanishes into the jungle.
Boone tries to free himself from Locke's rope contraption.
If Boone lowers his right arm toward the KNIFE -- the ropes
pull his left arm up BEHIND his back -- the way a cop or
bouncer would grab you to control you.
And that's Boone's exact situation. Because as he reaches
down for the knife with his right hand, his left arm is
PULLED UP BEHIND HIS BACK by THE ROPES causing him
excruciating fucking PAIN.
TIME CUT TO:
A1 3 EXT. JUNGLE - DAY
CLOSE ON ONE OF THE MAPS TAKEN FROM ROUSSEAU. If it even is
a map. We get the sense of geographical landmarks and the
shape of what might be the island, but it's all GREEK to us.
And now EVEN CLOSER on a CORK as what appears to be a SEWING
NEEDLE is PUSHED through it. FOLLOWING the cork as it's
placed in a TUPPERWARE CONTAINER filled with water as we --
WIDEN to find --
SAYID on one knee beside the MAP and the container. Intense.
He's WORKING. Pulls a gnawed PENCIL from behind his ear as --
THE CORK with the needle begins to MOVE. Finally SETTLES.
A13 (CON T'D): A13
Sayid makes a NOTATION on the map. Furrows his brow. Looks
BACK the way he came. Checks the map again. Whatever it is
he's doing, it's not making sense to him. And that's when --
HE HEARS A SOUND. RUSTLING.
Sayid WHIPS AROUND -- Already getting up -- old training
KICKING in because he's already got his KNIFE in his hand --
And Locke is standing there.
Locke. I... didn't hear you.
Sorry -- sneakier than I give
myself credit for.
Sayid's body instantly RELAXES. He sheathes the knife --
What are you doing out here?
Sayid notices Locke is completely UNARMED. Before he can
Left my knife with Boone.
He thought I should take the
Boone. Is hunting.
Boy's eager to learn.
You think he'll catch anything?
A13 (CON T'D): (2) A13
Sayid SMILES -- charmed by Locke's honesty. Locke notices
the MAP, bends down over it --
And what are you doing out here,
Orienteering. I'm trying to
make something of Rousseau's
maps, but -- -- There's nothing to make?
Locke zeroes in on the NEEDLED CORK floating in the
container. His eyes LIGHT UP as he taps it with a finger --
You made a compass. I haven't seen
one of these since I was a Webelo.
NOTE: PRONUNCIATION -- "Wee--beh--low."
What's a "Webelo?"
Half way between a Cub Scout and a
And what does a Webelo do?
Gets badges mostly. Tying knots.
(turns to Sayid; smiles)
I wasn't the most popular kid.
Sayid smiles back as Locke gets up --
Well. I'll leave you to it.
(then; as if it just
occurred to him)
Oh -- Here...
Reaches into his pocket and produces a full-on CAMPING
COMPASS. All the bells and whistles --
LOST "Hearts and Minds" (GOLDENROD) 12/9/04 22C.
A13 (CON T'D): (3) A13
Maybe this'll help your cause.
Sayid takes it, surprised --
Don't you need this?
And as Locke heads back off into the jungle --
OFF Sayid, wondering what the hell that's supposed to mean...
EXT. JUNGLE - LATER 13
THE SUN is high and beating down in shafts of light through
the thick jungle.
Boone has been tied to his tree for a while now. He is
tired, sweating, and totally freaked out about his horrible
He gathers his strength for another attempt. He reaches
down, and the ropes wrench his other arm up behind him, and,
by the way, he's still WAY SHORT of grabbing the damn knife.
Unable to take the pain, Boone stops -- Breathes hard --
SHOUTS OUT in wild FRUSTRATION...
INT. AUSTRALIAN POLICE STATION - NIGHT - FLASHBACK 14
Sorry, Mr. Carlyle... but I'm
afraid I can't help you.
A Bullpen. Typical Saturday night crowd -- drunk-and-
disorderlies. Boone is GETTING ANGRY at an Australian POLICE
DETECTIVE named MALCOLM, 30s, who regards Boone with curious
What do you mean, you can't help
Unfortunately, sir, we need a
little more to go on. --I don't understand! I'm
reporting a crime here.
Malcolm hovers, like all the best bureaucrats, right on the
edge of being patronizing.
(deep breath, centering)
Look, this is a cycle with her. My
sister is attracted to the wrong
kind of guy.
Right then -- the doors to the bullpen CRASH OPEN and in come
four UNIFORMED COPS wrestling with a drunken and fighting,
And since this is a cop station we might not think much of it
-- until we notice that the DRUNK IS SAWYER!
It was his bottle -- I just gave it
back to `im!
Yes, Sawyer. Sauced and STRUGGLING and YELLING.
Yo, Croc Hunter -- how come nobody
wants to hear my side of the
Of course Boone doesn't know Sawyer yet so it means nothing
to him. But we wonder, holy shit! What does this weird
coincidence mean? Why is Sawyer here? Why is he under
arrest by the Sydney P.D.? But those, my friends, are
questions to be answered in another episode.
14 (CON T'D): 14
Sawyer is rushed right on through and out another set of
doors -- into the HOLDING CELL AREA.
Now if that was her mate, see then
I could help you.
(off Boone's exasperation)
All right, let me finish taking
down your information.
You were saying she's your
sister... Then why is her name
Rutherford and yours Carlyle, is
Boone is getting progressively more and more annoyed.
...but she's not married anymore --
and that has nothing to do with
And that's true because Shannon's former marriage is a STORY
for a different episode of LOST.
Rutherford was her dad's name.
Our parents got married when I was
ten and she was eight.
So she's your step sister.
(trying to drop names)
Maybe you've heard of my mother,
She's got the largest wedding
business in the US -- and I'm
C.O.O. of the wedding clothing
In other words, pal, I'm not a schmuck. But Malcolm is not
14 (CON T'D): (2) 14
Would you like to buy my wife's
wedding dress? Cost two thousand
dollars new and was only worn once.
Boone looks over at him.
I just want somebody to pay this
guy a visit, that's all.
Mr. Carlyle, in the absence of
physical evidence or a direct
complaint from --
Malcolm looks at his papers --
--Shannon-- we can't just go
barging into people's apartments.
Sadly, we're the police but not the
And Off Boone's frustration...
EXT. MARINA - LATER - FLASHBACK 15
Bryan has been working on a boat. He comes off the deck onto
the docks to see --
Boone, who approaches him, affecting a toughness he doesn't
Bryan. We need to talk.
Bryan looks up at Boone like he's never seen him before.
And you are?...
Shannon's brother. Boone.
15 (CON T'D): 15
Bryan turns and gives him a small opening where he's willing
I won't waste your time. Or mine.
I want you to break up with my
(you've gotta be fucking
I want you to end it. Now. Today.
Bryan can't believe this -- he scoffs -- feeling NO THREAT
Bugger off, mate.
But Boone wasn't expecting this to be easy. Which is why he
takes out his CHECKBOOK --
What you don't understand, Bryan,
is that you'll be the third guy
I've paid to leave.
You go to her house when she's not
there, you get all your stuff, and
you never have contact with her
You flew all the way over here...
to bribe me? I mean really-- What
are you doing?! Shannon's a grown
And I'm going to give you twenty
five thousand U.S. dollars.
This number gives Bryan pause. Then --
I love her.
15 (CON T'D): (2) 15
Bryan takes a long beat -- and maybe he does kinda love
Shannon but obviously his love's not running THAT deep.
My love for her...?
Worth closer to fifty thousand.
Boone looks at him. Accepting the fact that this is how much
the "exchange" will cost him...
EXT. JUNGLE - DAY 16
CLOSE ON Boone. His eyes are closed. He's resting his chin
against his breastbone, letting the pain drain out of him --
wondering how the fuck he is going to get out of this.
That's when he hears something...
SOMEBODY HELP MEEEEEE!
Oh my God! Is that Shannon?! His head snaps back up.
Who is that?!
And Boone realizes Shannon is out here too! But NOT CLOSE BY
because her voice is dampened by the THICK JUNGLE.
(yells to her)
I'm tied up!!
Can you get over here and --
16 (CON T'D): 16
-- What? I'm tied up too!
And then we HEAR A HORRIBLE SOUND.
Yeah. It's out here
THE UNMISTAKABLE ROAR of THE MONSTER.
SHANNON (V.O.) (CONT'D)
And OFF BOONE'S HORRIFIED FACE, WE...
CUT TO BLACK:
END OF ACT TWO
EXT. JUNGLE - DAY 17
Boone STRAINS against the ropes.
Hang on, Shannon, I'm coming!
CLOSE ON BOONE -- his face beaded with sweat -- lined by the
effort -- teeth clenched -- his sister calling out for him --
BOONE! HELP ME!
Boone struggles, trying to find a way out that doesn't
involve Locke's rope trap using the strength of one of his
arms to rip the other off --
-- but there's little time to think -- because from the
deepest recesses of the jungle, the sound keeps getting
The monster --
SHANNON (O.S.) (CONT'D)
IT'S GETTING CLOSER --
Galvanized by his sister's distress, Boone reaches once more
for the knife. Finding the motivation Locke was talking
about, he stretches down with his right arm causing his left
arm to be HORRIBLY WRENCHED BEHIND HIS BACK.
Boone YELLS OUT IN PAIN but keeps going now...
Forcing himself down, further and further, straining against
the SEARING PAIN -- until finally he GRABS THE KNIFE, pulls
it out of the tree below him.
He cuts himself free. Takes off running, following Shannon's
18 EXT. JUNGLE - FURTHER IN - DAY
Boone races off across the jungle.
18 (CON T'D): 18
Calling out her name -- and heedless of the MONSTER'S ROAR
coming from the jungle NEAR HIM. Shit! He's not even sure
CRASHING OUT through the BRUSH he finds Shannon, also tied to
Boone -- thank God --
-- Get me out of here -- I'm working on it -- he --
please -- how did --
Boone starts CUTTING Shannon's bonds with the knife -- we're
HANDHELD CAMERA here -- urgent, terrifying --
Oh my god --
SWISH PAN from the JUNGLE back to our people: the monster's
close. And coming closer.
Hurry, Boone! Please... Almost... done -- There!
And the rope unravels as she's cut free.
EXT. JUNGLE - PATH - CONTINUOUS 19
Boone and Shannon are running as fast as their legs will
carry them -- pushing -- pushing -- on a MAD DASH through the
jungle. The monster ROARING, tress SHAKING behind them as
they make their way to --
EXT. JUNGLE - DOWNHILL GRADE -- CONTINUOUS 20
-- the two MOVE VERY FAST. Shannon can actually run. But
something is becoming clearer with each passing second --
-- even running fast, there's no outrunning this thing.
Boone looks around frantically, assessing his options, SEES --
Boone gets an idea.
A BANYAN TREE -- Massive.
20 (CON T'D): 20
He PULLS SHANNON with him toward the BASE OF THE TREE.
What are you doing?
No time to argue. The ROAR has become a THUNDERING DRONE --
it's everywhere around them, thick and ominous --
We have to run!
Boone grabs her --
Shut up! In here.
And he pulls her with him into a HOLLOW in the BANYAN TREE.
There is just enough room inside the colossal trunk to
INT. JUNGLE - BANYAN TREE - CONTINUOUS 21
They huddle together. Boone doing whatever he can to obscure
himself and his sister from view.
And now the MONSTER is RIGHT THERE.
Shannon looks very vulnerable. Boone calms her -- fingers to
her lips. JUST AS the massive shadow of the beast passes
over them, cuts the shafts of light coming down into the
Is it past them?
They get their answer. No -- because -- SLAM!! SLAM!!!
The tree BUCKS. The Monster ROARS -- and is SLAMMING ITSELF
AGAINST THE FUCKING TREE!!
INT. SHANNON'S BUNGALOW - DAY - FLASHBACK 22
Shannon lets Boone inside. He enters quickly, pissed, having
had enough -- she seems genuinely startled --
22 (CON T'D): 22
I thought you were coming -- d'you have any bags? Are
later-- you taking anything--?
-- you should come back --
Shannon. We're getting out of this
country: are you taking anything
But Shannon seems awkward -- as if something's not going
according to plan -- and doesn't quite know how to react.
And Boone stares at her, trying to figure this out.
-- what the hell's going on?
You were supposed to come later.
I'm not gonna sit in my hotel room
all day, let's do this, let's go.
Just then, a SOUND -- Boone looks up -- and BRYAN enters --
either from outside or a distant door or a staircase -- the
important thing is that he was far enough away not to have
heard any of the preceding.
Suddenly Boone and Shannon are especially awkward. Bryan,
however, seems calm and confident.
Oh... look at this.
(firm, quiet, to Shannon)
But she doesn't move.
...it's okay. We can go.
But there's another odd, motionless silence. Boone moves to
Shannon -- takes her by the arm to usher her out -- but she
resists -- and he stops, looking at her, puzzled -- then:
22 (CON T'D): (2) 22
Hey, mate, you don't get this yet?
Boone stops -- no, he doesn't... Boone looks at Shannon for a
long, long beat. She tries to remain firm -- but her look
22 (CON T'D): (3) 22
has such a trace of guilt that it begins to dawn on Boone
(though it takes a while) just what the hell's happening
here: Shannon and Bryan are in on this together.
Boone stares in silence. It's a horrible betrayal. Shannon
knew he would do whatever it took to rescue her. Shannon
played him for the money.
This whole thing...? This was a
Don't get all bent, brother. She's
just getting what she's owed.
Boone turns to Bryan -- a volcano about to explode -- Boone
is still in shock, really -- but where the fuck does this guy
-- what'd you say?!
She told me your mum cut her off
after her daddy died. Kept all of
her father's money for herself.
Screwed over Shannon and used it to
start her business. Sweet mum you
I reckon this is just fair
recompense. Wouldn't you agree?
But Boone just looks at Shannon -- suddenly replaying past
events in his mind -- a fucking tumble of now-revised
-- this isn't the first time, is
it? You've done this to me before,
you little bitch--
Bryan puts his hands on Boone --
Boone makes his gamest effort to shove Bryan aside --
-- don't touch me, you lowlife
LOST 12/9/04 34.
22 (CON T'D): (4) 22
BAM! Bryan's PUNCHED BOONE -- and does it again and then
again and it's swift and brutal. Bryan knows a thing or two
about fighting and Boone is getting the shit kicked out of
him. Boone doesn't even get a swing in.
Stop it! BRYAN! GET OFF HIM!!!
Boone falls to the floor -- but Bryan's on bar-fight
autopilot now -- Shannon throws herself on Bryan -- SCREAMING
and PULLING --
-- Shannon finally pulls Bryan off him.
And all that's left is an ugly silence as the three catch
their breath and look at each other.
The thoroughly beaten Boone picks himself up -- looks at his
sister -- wipes his bloody lip --
-- and leaves.
OFF Shannon -- trading looks with Bryan -- then looking at
the closing door with remorse for what she has done.
A2 3 EXT. BEACH - DAY
Which way do you think North is?
Find Sayid and Jack on the beach. Away from the others --
North. Which way?
Jack studies Sayid -- he's serious. Okay, he'll play along --
Okay. Sun's gonna set over there,
so that'd be west. That makes
Based on this logic (and it is sound), Jack POINTS off in the
LOST "Hearts and Minds" (SALMON) 12/13/04 34A.
A23 (CON T'D): A23
Correct. That is where North
Sayid produces the COMPASS. Holds it up next to Jack's
upraised ARM --
CLOSE ON THE NEEDLE -- Sayid now raises his OWN ARM to match
its direction -- about TWENTY FIVE DEGREES OFF Jack's guess-
Yet that is North.
I'm not --?
-- A minor magnetic anomaly might
explain a variance of two or three
degrees. Not this.
Okay, that's fucking weird.
What're you saying, Sayid?
I am saying...
This compass is obviously
Where'd you get it? The compass?
Locke gave it to me this afternoon.
Locke? Where'd you see him?
About a mile East of here --
walking through the jungle.
At least I think it's East.
Sayid cracks a smile -- but that wasn't necessarily a joke.
And OFF JACK, wheels turning --
INT. JUNGLE - BANYAN TREE - DAY 23
CLOSE ON the dirty faces of Boone and Shannon peering out,
listening intently to the now ordinary JUNGLE SOUNDS. Not
wanting to MOVE A MUSCLE until they are fucking sure that the
monster is gone.
(barely a whisper)
Can we please get out of here?
(peers out, beat, quietly)
...I think so...
Shannon gives a look out herself as Boone slowly works his
way out of the tree. She follows him.
What did you do to him?
What did I do to who?
23 (CON T'D): 23
Locke. What did you do to that
psycho to piss him off?
And Boone KNOWS why. But --
I didn't do anything.
Oh -- so he did it because he was
bored? Why us? Why me? I know
you and him are --
Let's just get back to camp.
Boone looks around trying to figure out which way to go.
Uh, scoutmaster? The path's over
What path?! There is no path.
And so he goes after her to see what she's talking about --
CLOSE ON SHANNON'S face -- as she stops dead in her tracks --
SEEING SOMETHING scary -- but we don't know what it is yet.
Oh my God...
Boone approaches alongside her. His mouth drops open as he
sees it. CRANE UP BEHIND THEM to finally REVEAL --
A HUGE SWATH OF FLATTENED JUNGLE.
The path of destruction left behind by the monster.
And it's a very scary sight. OFF the two of them.
EXT. BEACH - DAY 24
Jack walks along the beach -- finds Locke -- sitting by the
shore staring out at the ocean. Jack approaches him.
24 (CON T'D): 24
Not yet. But I'm patient.
Mind if I join you?
(gestures to sit)
Jack sits beside him. A few beats. Then --
Been awhile since you and I talked,
Well... you're a busy man.
So are you.
Locke chuckles. Touche.
(doesn't miss a beat)
Haven't seen him today.
Yeah? You two have been attached
to the hip all week.
Jack doesn't need to finish the sentence.
Well let me check my hip, then.
Nope. No Boone.
Jack smiles -- but he doesn't really smile. He's no dummy,
and although he doesn't know what we know, he still feels
something... something just OFF.
How's the hunting going?
Between you and me?
24 (CON T'D): (2) 24
The boar are learning out tactics.
I fear they're migrating outside
our valley. They're smart animals.
And smart animals adapt quickly
when a new predator is introduced
into their environment.
You mean us.
And Locke turns to Jack, flashes a grin which to him might be
"jokey," but to us is FUCKING CREEPSTOWN --
The most dangerous predator of all.
And OFF JACK --
25 EXT. BEACH - A TIDE POOL OFF THE MAIN BEACH - DAY
Jin walks through a pool of water -- snaring yet another fish
in a makeshift net. Satisfied, he turns around -- and the
look on his face makes patently clear what he thinks about --
HURLEY -- a few meters away, trying to emulate Jin by making
a net from his outer shirt -- but having little success --
Jin is not about to help Hurley. He walks out of the pool --
looking Hurley up and down as he passes him -- and drops his
catch on the beach a safe distance away.
Jin comes back to the tide pool --
Don't eat my fish!
It doesn't take a U.N. translator to figure that one out.
Hey, you know what? You win, okay?
You happy now? Keep your damn
fish. I'm outta h--
25 (CON T'D): 25
-- but as Hurley has turned to go, he's stepped on something
-- a sea urchin -- the spine penetrating right up through his
thin rubber shoes.
Hurley CRIES OUT in pain -- hopping to the shore and plopping
down to the ground in a rather ungraceful manner --
OW! Damnit! Awgh! God, that--
Jin watches -- now he has no choice but to help --
What did you do?
I stepped on one of those damn
Jin looks down at Hurley's foot as Hurley frantically pulls
out the stuck needles --
No? You understand infection?
(off Jin's look)
Oh -- hell -- look man -- you gotta
do something -- you don't want to
give me fish, that's fine, but --
(doesn't want to say it)
-- You gotta pee on my foot -- OK?
I saw it on TV -- it'll stop the
venom -- you gotta --
Just pull out the spines -- pull
them out --
The two men are now pantomiming vastly different things.
Hurley finally gets Jin's attention by agitatedly pointing
between his foot and Jin's crotch -- and that's when Jin
finally understands what Hurley is getting at --
No -- you idiot -- that isn't
Would you JUST do it? I'm
going to do anything! That's
gonna lose my foot if you
for jellyfish stings!
don't! PEE ON IT, MAN!
-- Jin finally says his first words of English on the island
to emphatically get his point across --
25 (CON T'D): (2) 25
No. No. No.
Okay, it ain't gonna get him a 750 on the SAT, but it does
make the point loud and clear.
Hurley wears a miserable expression as Jin begins to help him
pull the spines out of his foot. Hurley MOANS in pain.
EXT. JUNGLE - GARDEN - DAY 26
Kate and Sun are planting seeds. They can't communicate,
except through the experience --
Well this is nice. Just us girls.
Sun just looks at her, smiles -- in a sweet but awkward way --
Can you believe we've been here
over three weeks?
(off Sun's look; they keep
I was heading for Bali. I...
travel a lot. I was looking
forward to spending some time
exploring the island.
But I ended up on a plane to LA
Guess this falls into the category
of be careful what you wish for.
Sun is planting, gives a small, "I'll say" smile under her
hat. Kate immediately locks her eyes onto Sun. A long beat.
...you understood me...
Sun's smile vanishes. Kate keeps her eyes right on Sun.
-- you did, didn't you?... You just
understood what I said.
Under this pressure and scrutiny Sun is unable to hide her
fear. Kate's amazed -- says quietly:
You speak English?
26 (CON T'D): 26
Sun looks at Kate and the expression on her face tells us all
-- and Kate -- that she's busted.
Please. Don't tell anyone.
EXT. BEACH - DAY 27
Hurley is nursing his swollen foot. Calls out --
You sure you don't speak English?
He watches Jin picking urchins out of the tide pool.
`Cause there's a rumor that you do.
After a beat of nothing for Jin --
Jin doesn't react.
Your wife is hot.
Jin stares over at him blankly. Now Jin approaches having
opened an URCHIN for Hurley to eat.
I get it, this is some kind of
payback `cause I wouldn't eat
urchin that other time, right?
And Jin smiles, pushing the urchin at Hurley. In KOREAN --
Hurley realizes that this is his chance to make an apology --
I eat this... you give me fish...
Jin's expression changes not at all.
Hurley stares at the fucking orange mucus ball, trying to get
27 (CON T'D): 27
Over the lips and past the gums,
yada, yada -- oh god! --
And Hurley takes the urchin, closes his eyes and pops it down
Jin stares at Hurley, a big smile on his face. And Hurley
does his best attempt at a smile back. It's a great moment
of cross-cultural reconciliation...
Until Hurley's face blanches. He bends at the waist -- and
VOMITS UP the sea urchin. Really WRETCHES.
OFF Jin, cringing, this is not a pretty sight.
EXT. JUNGLE - VALLEY - DAY
Dark, scary -- light pours through the vines in shafts --
Boone looks up, trying to spot the sun through the foliage,
hoping they are going the right way.
Are you sure we're going in the
You don't want to follow me, then
I wouldn't have to follow you if
you weren't best friends with the
nutcase who brought us out here.
Boone walks on. Ignoring her. But she's unrelenting --
You and Locke weren't hunting, were
you? You were doing something else.
Haven't we been over this?
You're a horrible liar, Boone.
28 (CON T'D): 28
We weren't doing --
-- Why are you keeping a
secret for this guy!
Boone turns and fires back on Shannon --
You know who "this guy" is? He's
the one person here who has a real
clue what's going on.
...the hell does that mean?
-- It means he's smart.
He tied us up, Boone!
Despite her anger, it's hard to argue with Shannon. Pretty
much anything she wants from him, she gets. Several beats,
pass. Then --
We found something.
Another beat as he contemplates the plunge. Then --
While we were out looking for
Claire... we found this... this
piece of metal. Buried in the
jungle. We've been excavating it --
A piece of metal?
A hatch. Buried in the dirt.
...like... like a door?
Yeah. That's what a hatch is,
28 (CON T'D): (2) 28
Where does it go?
Shannon's a little creeped out.
I don't know.
I told him I wanted to tell you.
That's when he did this--
-- but suddenly: MMMMMRRRRRRRROOOOOOOWWWWWWWR!
The monster's back. And it's FUCKING CLOSE this time!
And they run -- but this time there's no outrunning it and no
place to hide.
Shannon trails Boone slightly -- and we're TRACKING WITH HER
FAST in TIGHT PROFILE -- and we SHAKILY TILT TO HER LEGS AS
SHE RUNS AND SUDDENLY THOSE LONG LEGS ARE LIFTED OFF THE
GROUND AS SHE'S APPARENTLY GRABBED BY THE THING AND SHE
SCREAMS BLOODY MURDER. We don't see any more of the thing
than when it ripped the pilot from the plane's cockpit.
But it has her -- pulls her away through the thick brush.
Boone turns back in horror -- stumbling back, looking up in
SHEER HORROR -- YELLING as his sister's SCREAMS ARE HEARD --
OH GOD! OH GOD! NO!
-- and he's on the floor of the jungle -- eyes wide, red,
wet, as his sister's voice is SILENCED -- and he's just
there, in shock -- as the BEAST LUMBERS OFF -- something we
don't see -- but we're TIGHT ON BOONE'S HORRIFIED FACE --
then WIDE, departing -- WIDENING -- on Boone, alone, alone...
END OF ACT THREE
EXT. JUNGLE - PATH TO THE VALLEY -- LATE AFTERNOON 29
Kate and Sun are alone on the path, standing, talking
Does anybody else know?
But not your husband.
Sun takes this in.
As in -- you mustn't, mustn't tell --
Don't worry, I can keep a secret.
Sun volunteers more --
Sun gives her a small smile.
I took English lessons in Korea.
He doesn't know. It's...
Kate listens to this, realizing there's a lot more to Sun
than has yet been revealed.
Why don't you tell him now?
(shaking her head)
That's the question and we're back to it again.
Because I love him.
29 (CON T'D): 29
I don't understand.
Sun looks over at Kate and then puts it in terms Kate can
Have you never lied to a man you've
OFF KATE. Okay, that resonates.
EXT. BEACH - LATE AFTERNOON A30
And speaking of men that Kate has lied to, JACK taps a single
TABLET out of a pill bottle into the hand of CHARLIE --
PULL BACK to find the two beside tonight's SIGNAL FIRE.
Charlie dry swallows the pill and -- he returns to carefully
building the log cabin of fire.
Give you a hand?
Jack squats down. Helps assemble the firewood as they talk --
Haven't seen you around the caves
Yeah. Needed a change of scenery.
Charlie looks up -- and there's something different about
him. That twinkle temporarily dulled from his eye. And Jack
is very aware of this. Serious, concerned --
How you doing, Charlie?
How am I doing with week two of
heroin withdrawal or how am I doing
with Claire being abducted by the
freak who tried to kill me?
A30 (CON T'D): A30
Well, that about says it, doesn't it? But Jack deflects with
skilled bedside manner --
I gave you the aspirin for the
And this gets a genuine SMILE out of Charlie. Warms him up a
bit. The two continue to build as Jack's attention is drawn
Where Locke still sits off in the distance, looking out at
the water. His back to us in that old familiar posture --
And it's patently clear. Jack very much has Locke on the
brain right now.
What do you think his story is?
That man's a freak of nature. Very
disturbed. Quite likely murdered
all his mates at the Post Office
that day his mum forgot to put a
cookie in his lunch tin. That was
my first impression, anyway.
But then he saved my life.
This certainly piques Jack's interest. But --
Another story for another time.
You trust him?
Charlie's SURPRISED that Jack would even ask such a thing --
Trust him? No offense, friend...
but if there was one person on this
island I'd put my absolute faith in
to save us all, it'd be John Locke.
A30 (CON T'D): (2) A30
And Charlie fucking MEANS it.
And as Jack again looks off in the distance at Locke...
INT. THE VALLEY - CAMPSITE - LATE AFTERNOON 30
MICHAEL unzips his bag -- looks inside -- and as he does --
Found your bag? That's pretty
REVEAL Hurley -- miserably munching on a papaya. He's still
in pain from the urchin. He watches Michael life something
up from his bag.
It's a WOOD BOX. And it brings back melancholy memories for
Michael (more to come on this next week.) Michael looks over
at -- WALT playing with Vincent a few meters away.
Then, he puts the BOX back in the bag --
...must be nice using your own
You got some papaya there?
Mind if I --
Hurley throws Michael a papaya with no hesitation, rubs his
Knock yourself out, dude. Hey, you
want to wish something on your
worst enemy? Hope they step on a
And as Michael eats, Hurley looks up to see Jin approaching --
-- Hurley looks down -- not wanting to face him, but Jin now
stands over him... and hands him a WHOLE FISH.
Whoa. Hey. Thanks...
LOST "Hearts and Minds" (GREEN) 12/1/04 48.
30 (CON T'D): 30
Jin shakes his head, then walks off. Hurley examines the
fish. It's sliced along the bottom.
Dude, this has already been
cleaned? You're kidding me...
But Jin is already out of there, on his way to meet up with --
at the middle of the valley. The two talk together softly in
KOREAN -- the gentle, normal discourse of a couple doing
their best to cope.
Drifts INTO FRAME, watching them talk intimately. She
wonders how two people have so little communication on one
level yet obviously share love and loyalty on another.
And off this --
INT. THE VALLEY - CAMPSITE - LATE AFTERNOON - CONTINUOUS A31
They look happy.
And speaking of complicated couples... Kate turns around.
It's Jack, who has walked up behind her.
Yeah, you remember happy, right?
Kate chuckles. But Jack didn't come here to talk about Sun
and Jin --
Put out your hand.
You'll like it. I swear.
Kate looks at Jack, trying to figure out what he's doing.
LOST "Hearts and Minds" (GREEN) 12/1/04 48A.
A31 (CON T'D): A31
And we play up her indecision here: Is she going to give Jack
her hand or not? Until she tentatively holds out her hand...
slowly opens her palm.
Jack puts his hand on top of hers, their hands touching
softly as he carefully puts something inside... Something too
tiny for us to see. Kate looks at whatever it is --
(recalling what Jack
called her passion fruit
Gross little greyish yellow
Excuse me -- these are slimy little
What's a garden without guava?
A question I've been asking myself
Jack smiles at Kate. And as always, there's so much going on
between these two. But we'll leave the audience wanting more
and go to --
31 EXT. JUNGLE - DUSK
Boone prowls the jungle like a mad man -- truly: this guy may
be losing his mind:
Hoping against hope that Shannon could have survived what he
saw -- knowing that it's probably impossible but following
the path anyway... CLOSE ON Boone's ragged expression as he
calls again --
(even more frantic)
LOST "Hearts and Minds" (GREEN) 12/1/04 48B.
INT. SYDNEY HOTEL ROOM - NIGHT - FLASHBACK 32
Boone holds an ice pack to his head. Thoroughly morose and
humiliated, he stuffs his clothes into his bag. He's getting
the hell out of Dodge, having failed here in the most
miserable of ways.
Then a SOFT KNOCK on the door sounds. Boone goes and opens
32 (CON T'D): 32
She enters -- without a word. Eyes red from crying. Drunk.
Pretty seriously drunk. Boone breaks the silence.
What do you want?
It's hard for her to admit it, but finally she does.
Bryan took the money.
Boone sees the utter sincerity and vulnerability on her face.
Despite that, he's still pissed --
So the player got played. That's
poetic, don't you think?
Shannon looks stricken. She stumbles toward him and lashes
out -- drunk and angry.
It's all your fault.
Boone looks at her incredulously.
Well that's perfect.
I knew you'd bring the money. I
knew you would.
You're drunk, Shannon...
And you wanna know why?
Does it matter? Because I'm sure
you're gonna tell me.
Boone can't wait to hear THIS ONE.
32 (CON T'D): (2) 32
Because you're in love with me.
Boone is stunned by this. It really takes a beat. And
yet... he may be blushing, the slightest bit...
She says it again, simply.
You brought the money because
you're in love with me.
Boone FIRES BACK -- cutting, bitter and angry.
You show up here plastered --
you've always been a self- -- I know you're in love with
centered bitch -- but now me.
you're delusional --
Shannon looks at him -- with honesty -- but also some edge.
I've always known it.
She's daring him, challenging him to deny it.
Even as she's moving closer -- and closer --
Stay away from me...
It's all right...
-- the hell are you doing? Get
away from me --
And now she's right
-- but the truth is? He's not moving.
32 (CON T'D): (3) 32
... stop it.
-- but slowly -- she keeps coming... and their lips finally
They KISS. A tender and tentative exploration, after which
they pause -- their hearts pounding --
And now they give themselves over to it -- abandoning
themselves to the moment -- in FULL ON PASSION -- stumbling
back -- and falling in a tangle onto Boone's hotel room bed.
INT. SYDNEY HOTEL ROOM - LATER - FLASHBACK A33
Boone in his boxers sits on the edge of the bed. Shannon
sits across from him in a chair, fully dressed.
They don't say anything for a long moment. Her shame and
regret hang heavy in the air. Finally:
When we get back to LA... you
should just tell your mom that...
that you rescued me. Again. Just
like you always do -- and we just
go back --
-- to what?
To what it was.
How could you --
And there is nothing he can do about it.
Like it's all up to you?
But her veneer is fully back up in place -- and she gives him
nothing. Boone's expression turns as he realizes that
tonight never happened.
A33 (CON T'D): A33
Off Boone, the sadness, anger, and resigned disappointment
play across his face.
EXT. JUNGLE - EVENING 33
Boone follows a trail of BLOOD DROPS and SMEARS through the
tangle of jungle, fearing the worst. Tears flow from his
Finally he finds what he was hoping he wouldn't --
Covered in BLOOD -- lying in a shallow pool of crimson water.
Her limbs are splayed in an unnatural arrangement -- broken
-- oh God...
Boone pulls her out -- holds her close -- trying to restore
her dignity -- and discovers Shannon is still breathing --
barely -- holding onto the last remnants of life.
Her torso IS STITCHED with a ROW of GIANT, DEEP, BLEEDING
PUNCTURE WOUNDS. From what? Claws? Teeth? Whatever put
them there, it's fucking huge.
Because as Boone strokes her hair -- Shannon's eyes open,
slowly, languidly -- the life draining from them -- and
Boone's eyes are WET, he's in shock --
I knew you'd come for me... you
always come for me...
Boone holds her, wipes the blood from her face.
(not believing this
I'm gonna get you back to camp.
You're gonna be fine. Jack's gonna
take care of you...
33 (CON T'D): 33
Shannon looks up INTO HIS FACE wanting to believe it -- that
her brother will manage to pull her through.
Help me, Boone...
But there is nothing he can do. Shannon dies in his arms.
3 4- 3 5 OMITTED
CUT TO BLACK:
END OF ACT FOUR
EXT. JUNGLE - NIGHT A36
Boone, staggers back into camp -- his eyes hollow -- haunted
-- and as he listlessly knocks aside vines and bushes, making
his way toward the valley.
36 INT. THE VALLEY - NIGHT
Boone (dirty but no longer bloody) strides into the valley --
his eyes burning -- looking something like Martin Sheen in
Only his Colonel Kurtz is Locke, sitting alone at a campfire.
There are some survivors at a distant campfire. Another
campfire burns not far away, but no one sits at that one. In
other words, Locke is here virtually alone.
Boone breaks into a run -- Locke's knife in his hand -- and
launches himself at Locke.
Locke is ready for him. Dodges. Boone and Locke tumble over
and over. They grapple. Locke ends up on the bottom --
almost strangely passive. Not fighting back -- but CONTROLS
THE SITUATION by holding Boone's knife hand at bay off his
It killed her!
You made it back.
That thing out there killed my
sister! It's your fault! You
dragged her out there!
Don't play dumb with me -- I
know what you did to her you -- Calm down, son. Just --
sick freak --
And now she's dead. It... it
mangled her. She died in my arms.
36 (CON T'D): 36
Locke stares into Boone's blazing eyes. A beat. Then --
Then why isn't there blood on you?
Boone looks down at his hands, the rest of him. Holy shit!
Locke's right. No blood anywhere. Only dirt.
Boone knows it was there before. He looks up at Locke,
confused, swirling with anger and bewilderment, waiting for
What happened to me out there?
I don't know. You tell me.
But your sister? Shannon?
And now Locke, still holding Boone's knife hand, pushes
himself up. THE WAY HE LOOKS AT BOONE -- Boone lets him do
it. And then Locke turns his head... and Boone follows his
gaze to --
THE NEARBY CAMPFIRE further back in the caves, where he sees--
Sayid and Shannon come into view! They sit together at the
fire. She's laughing, smiling, joking around with Sayid --
AND VERY MUCH ALIVE. It's like she doesn't have a CARE IN
THE WORLD. And with obviously no knowledge of what Boone
just went through.
WHAT. THE. FUCK?
She was dead...
Is that what it made you see?
What what made me see?
That stuff you put on my head?
-- You drugged me?
I gave you an experience.
36 (CON T'D): (2) 36
LOC KE (CONT'D)
One I believe vital to your
survival on the island.
None of it was real? That...
Was only as real as you made it.
(at a whisper)
I saw her die...
(beat; eyes welling)
She was gone. She was dead.
Locke looks at Boone -- who is clearly having a lot of
trouble figuring out what it all meant.
How did you feel -- when she died?
Boone doesn't answer that question for a long moment.
Everything Locke did was meant to bring him to this place.
... how did you feel...?
And it finally DAWNS on Boone. Accepting it --
...I felt... relieved.
Boone looks at Shannon for a moment. She's gorgeous -- full
of life -- she looks like a piece of candy...
Time to let go.
And we notice something very important. Boone's look to
Shannon is no longer obsessive. Now Boone looks to Locke.
And Locke walks off. We LINGER on Boone as he looks off at
his sister. And then --
36 (CON T'D): (3) 36
Boone turns away, following Locke out of the caves into the
jungle. And as they disappear into the darkness.
SMASH TO BLACK