LOST
"Outlaws"
Written by
Drew Goddard
ACT ONE
EXT. BEACH - SAWYER'S AREA - MORNING 5
5
TRACK across the scattered DEBRIS of Sawyer's area. It's a
MESS -- since the tent came down, the wind has scattered much
of the CLOTHES, MAGAZINES, and GEAR Sawyer's been hoarding.
FIND Sawyer, angrily collecting his belongings into a pile.
SAYID stands nearby, surveying the damage:
SAYID
A boar. Took you tarp.
SAWYER
(muttering)
It was dark -- but yeah. Pretty
sure it was a boar...
SAYID
I thought the boar had vacated this
area...
Sawyer clearly does not want to have this conversation.
SAWYER
Well, genius, I think we got some
bad info.
SAYID
What was it doing in your tent?
SAWYER
It was staring at me.
Sayid frowns. Sawyer realizes how ridiculous that sounds.
SAWYER (CONT'D)
Then it came at me. So I hit it.
And it took off --
He gestures toward the jungle where the boar disappeared.
SAWYER (CONT'D)
Into the jungle.
SAYID
With your tarp.
(pause; then)
Perhaps it wanted to go camping.
Sawyer grits his teeth.
5 (CON T'D): 5
SAWYER
You enjoying yourself?
Sayid thinks about it, then:
SAYID
A bit. Yes.
Sawyer shakes his head, fed up. He starts walking into the
jungle after his tent.
SAWYER
Laugh it up, Mohammed -- I get back
and find my stuff's gone, I'm
coming after you.
ON SAYID -- he takes a final glance at the wreckage, shakes
his head, and starts to walk off. After he takes a few
steps, we hear:
SAWYER (O.S.) (CONT'D)
Sayid --
Sayid turns back. Sawyer's looking at him.
SAWYER (CONT'D)
What did you hear?
Sayid doesn't understand the question. Off his look:
SAWYER (CONT'D)
After you ran into the French
Woman, you said you heard something
in the jungle...
SAYID
(shakes his head)
I was injured and exhausted. My
mind was playing tricks on me...
SAWYER
What did you hear?
SAYID
I thought I heard... whispering.
SAWYER
What was it saying?
SAYID
Why? Did you hear something?
5 (CON T'D): (2) 5
Sawyer stares at him a beat. Then:
SAWYER
Forget it.
We're CLOSE ON HIM as he turns, walks toward the jungle.
SAWYER (CONT'D)
I didn't hear anything.
WOMAN (PRE-LAP)
What are you afraid of?
INT. HOTEL ROOM - NIGHT - FLASHBACK 6
6
A hotel room door crashes open as Sawyer and a WOMAN
(thirties, attractive) tumble into the dark room. They're
ALL OVER each other, making out like horny teenagers.
SAWYER
Sweetness, I ain't the one
tremblin' here --
And if this feels a bit familiar, it should. Sawyer's in his
professional con man form. As they kiss passionately,
crashing down on the bed:
WOMAN
I can help with the investors --
SAWYER
-- we're not talkin' about this --
He kisses her, acting as though he wants nothing to do with
this conversation. She kisses back, rolls on top of him:
WOMAN
Seriously, baby -- look at me --
(beat)
How much money do you need,
exactly?
It's a beautiful moment for a con man and his prey. But it's
interrupted when a VOICE across the room says:
VOICE (O.S.)
Okay, this is really awkward...
Sawyer and the woman JUMP IN SURPRISE. They turn toward the
voice...
(PINK) 1/4/05 8.
6 (CON T'D): 6
And FIND A MAN sitting across the room at the table. He's
been there the whole time, sitting in the darkness.
He TURNS THE LIGHT ON, and we get a better look at him: This
is HIBBS. He's mid-thirties. Tough, but not as tough as
Sawyer.
HIBBS
...but if I don't say something
now, things are liable to get
downright embarrassing.
Sawyer leaps to his feet, the woman huddles behind him.
SAWYER
(eyes narrowing)
Hibbs --
HIBBS
Hello Sawyer.
(to Woman)
Ma'am -- I must apologize. I
figured my good friend Sawyer
here'd be alone.
(back to Sawyer/dead
serious)
I just need a few minutes.
Sawyer keeps his iron gaze locked on Hibbs. It's clear --
these guys have history. After a beat, Sawyer turns toward
the woman, pulls her aside. They speak in HUSHED TONES.
SAWYER WOMAN
Listen -- -- what's going on --
Go down to the bar, get a -- Sawyer --
drink --
She looks over his shoulder -- Hibbs is admiring the hotel
artwork. As Sawyer opens the door to the room:
SAWYER
Soon as I get rid of him I'll find
you and explain everything. I
promise.
He kisses her, ushering her out the door.
We're WITH HIBBS as the door shuts. He walks towards Sawyer --
6 (CON T'D): (2) 6
HIBBS
Gotta hand it to you, Sawbucks.
How you find women that beautiful
to work your --
WHAM -- Sawyer GRABS HIBBS by the throat and SLAMS HIM up
against the wall.
SAWYER
Now, if I'm not mistaken, Hibbs --
He SQUEEZES HARD. Hibbs gasps in pain. Whatever Sawyer's
doing, it looks like it hurts.
SAWYER (CONT'D)
I'm fairly certain I said I'd kill
you if I ever saw you again.
HIBBS
(between gasps)
`s why I'm here... make things
right...
Sawyer holds a beat -- then releases his grasp, shoves Hibbs
aside. Hibbs shakes it off, clearly in pain. As he regards
Sawyer.
HIBBS (CONT'D)
`Sides -- we both know you ain't
the killin' type...
He composes himself, reaches into his jacket, pulls out a
LARGE ENVELOPE. Tosses it on the table.
HIBBS (CONT'D)
There --
(points to envelope)
Figure that makes us even for the
Tampa job.
SAWYER
(still fuming)
Now Hibbs. What could possibly
make us even for the Tampa job...
HIBBS
Oh, I don't know...
Hibbs takes a beat, clearly enjoying the moment.
LOST "Outlaws" (PINK) 1/4/05 10.
6 (CON T'D): (3) 6
HIBBS (CONT'D)
How `bout the known whereabouts of
the man who ruined your life?
Sawyer's face goes cold. He looks at the envelope.
HIBBS (CONT'D)
(beat)
I'm gonna make myself a drink. You
want one?
Sawyer shakes his head, walks over to the table, sits down.
Hibbs opens the MINIBAR. As he pours himself a drink, we
notice Hibbs is missing his LEFT RING-FINGER just above the
first knuckle (why? That's another episode, my friends...)
HIBBS (CONT'D)
You remember Old Man Parks, right --
ran capper for us on that gig in
Atlanta.
SAWYER
What about him?
HIBBS
(beat)
We still talk from time to time --
he's been working the wire at an
off-track parlor down in Sydney.
(beat)
So last week, one of his regulars
gets a little too sauced, starts
running his mouth about his glory
days as a grifter...
Sawyer opens the envelope -- pulls out a FILE. On top of
which is a PHOTO. A MAN IN HIS LATE-FIFTIES. Shot with a
LONG LENS, SURVEILLANCE-STYLE.
HIBBS (CONT'D)
This guy --
(taps photo)
"Frank Duckett." Real hard-luck
case -- gambling addict, alcoholic,
runs a shrimp truck --
(aside)
You know what a shrimp truck is?
SAWYER
(after a beat)
A truck that sells shrimp?
6 (CON T'D): (4) 6
HIBBS
(to himself)
Damnit. It is obvious. I owe
Parks a fifty...
(taps photo)
Back in the day, this guy Duckett
used to be quite a hustler...
(beat)
He ran the romance angle -- hook
the wife, take the husband for all
his money. Used to be pretty good
at it, too, from what I hear...
(beat)
Until, sadly, one of his marks in
despair took a gun, shot up his
wife, and blew his own head off...
(eyeing Sawyer)
All in front of their little boy...
ON SAWYER, feeling the full weight of what he's holding. He
leafs through the file, we see various FORMS -- police
records, DMV printouts.
HIBBS (CONT'D)
I paid Tony to pull his jacket --
turns out "Frank Duckett" used to
be named "Frank Sawyer..." The
name I believe you appropriated for
yourself.
SAWYER
(quietly)
This is him...
HIBBS
(nods)
That's him.
CREEP IN on Sawyer, his eyes going cold as he looks at the
photo of the man who ruined his life --
7
7 EXT. OUTSIDE THE VALLEY - MORNING
WE'RE LOOKING DOWN THE BARREL OF A GUN, MACRO-CLOSE. AND --
It FLIPS up, TWIRLS around deftly -- Now its HANDLE OUT. And
we RACK FOCUS to find the gunslinger is --
KATE
Thanks for the loaner.
7 (CON T'D): 7
KATE stands with JACK by the tree where he stows THE
HALLIBURTON CASE.
JACK
Always a pleasure.
Jack takes the gun from Kate, EJECTS the CLIP as he places
both pieces back into the case.
KATE
Anyone curious where they came
from?
JACK
The others know there was a Marshal
on the plane. Guess they assume he
was travelling alone. Protecting
them from terrorists.
(beat; then)
Sounded like a good theory to me.
ON KATE. A moment of silent THANKS --
Jack LOCKS up the case, ties the LEATHER STRAP with THE KEY
back around his neck.
KATE
You get all of the guns back?
JACK
All except one.
KATE JACK
Who...?
-- How about I give you three
guesses?
KATE
Sawyer.
Jack gives her a look -- "Of course it's fucking Sawyer." --
Puts the Halliburton in its hiding place, begins to CAMO the
opening.
KATE (CONT'D)
I can get it back.
JACK
(uh huh)
Really. How you gonna do that?
7 (CON T'D): (2) 7
KATE
I speak his language.
Jack finishes secreting the case. Turns to Kate... shaking
his head --
JACK
We've done this before, Kate. If I
remember it right, you made out
with him and never even had what
you said you could get.
Beat. Kate could try to defend herself here. But instead --
KATE
I only made out with Sawyer because
torturing him didn't work.
Another beat. Then Jack can't help but GRIN at the pure
absurdity of it. Tension broken --
JACK
Let him keep the gun. It's not
worth it.
KATE
Why? You afraid he's gonna shoot
me if I ask?
JACK
(serious now)
No. I just don't want you to owe
him anything.
And that's as close as Jack will ever get to declaring that
he might just be JEALOUS. And OFF KATE, perhaps appreciating
precisely that...
8
8 EXT. OUTSIDE THE VALLEY - MORNING
Michael has a makeshift worktable on which he's sawing
lengths of bamboo for his raft project.
CAMERA TRACKS to find CHARLIE sitting off by himself, BINDING
a piece of BENT WRECKAGE to the end of one of the GOLD CLUBS.
And with just one look at him, it is instantly clear -- This
is not the Charlie we know and love. Something just... OFF.
CLOSE on him -- VERY focused on the task at hand, wrapping
the WIRE around and around and around.
8 (CON T'D): 8
CLAIRE (O.S.)
Hey.
Charlie looks up, sees CLAIRE. He offers a smile, but
doesn't come close to selling it.
CHARLIE
Hi.
Awkwardness. She's got amnesia. He just killed a man. What
the fuck are they going to talk about?
CHARLIE (CONT'D)
How are you feeling?
CLAIRE
(shrugs; vulnerable)
Very pregnant.
Charlie just nods and continues BINDING. Not rudely... just
DISTRACTED. After watching him for a few beats --
CLAIRE (CONT'D)
I had... dreams last night. More
like memories, actually. You were
in them. I...
(beat)
They were nice dreams.
(beat)
Thought I'd see if you wanted to
take a walk...
She's obviously reaching out. Trying to make some kind of
connection. But Charlie's so focused, it takes him a beat to
realize what she's saying.
CHARLIE
Sorry. Can't right now. There's...
(reluctant)
...something I have to do.
HURLEY (O.S.)
Dude -- not the golf club.
Charlie and Claire turn to see HURLEY -- standing there with
a makeshift TOOL (kinda resembles a shovel) of his own.
CHARLIE
It was all I could find.
8 (CON T'D): (2) 8
HURLEY
You used the sand wedge?
(shakes his head)
Jack will spaz.
Charlie hops to his feet. Offers Claire that weird smile --
CHARLIE
Excuse me. We've gotta...
(not gonna go there)
I'll see you later, all right?
CLAIRE
Sure. Yeah. All right.
And Charlie walks off.
Hurley stands there for a beat, looking at Claire. And he's
got no fucking idea what to say to her. So he just raises
his hand, offers a little WAVE --
HURLEY
Bye.
Hurley shuffles off after Charlie. And OFF Claire,
displaced, confused... and ALONE --
9
9 EXT. JUNGLE - DAY
Sawyer walks through the dense jungle, searching for --
HIS BLUE TARP
It's in a clearing, the wind's blown it up against the tree.
Sawyer gathers it up in his arms, heads back toward camp.
EXT. JUNGLE - TALL GRASS - DAY - CONTINUOUS 10
10
We're with Sawyer as he walks through TALL GRASS. He's got
his tarp in his arms. As he walks, we hear the wind blowing
through the grass, and ever-so-faintly:
WHISPERED VOICE
I was gonna pay --
Sawyer stops in his tracks. Did I just hear that?
As he listens closely, he hears RUSTLING. Coming from BEHIND
HIM. He turns around and sees MOVEMENT IN THE GRASS.
Something's out there...
10 (CON T'D): 10
We catch a glimpse of it -- it's THE BOAR. And it's charging
right towards Sawyer.
Oh. Shit.
Sawyer starts to run. HANDHELD CHAOS as he sprints through
the jungle. He throws his tarp away. As he flees, we catch
glimpses of the beast -- blurs of fur amidst the grass. This
thing's moving fast.
BOAR POV -- as it rushes up right behind Sawyer --
The animal SHRIEKS and Sawyer's legs are cut out from under
him as the beast runs him down. Sawyer goes down hard,
headfirst into the mud. We catch QUICK, FRENETIC POPS of the
beast as it TRAMPLES SAWYER.
It all happens fast... And then it's over. The beast is
gone. It disappears into the tall grass. Just like that.
Leaving Sawyer facedown and trampled in the mud.
He slowly gets to his feet. He's filthy. Breathing hard.
Sore as shit from the hit. But he checks himself over -- no
severe damage.
WE'RE CLOSE ON HIS FACE as his fear hardens into anger.
SAWYER
SON OF A BITCH --
HARD CUT TO:
EXT. BEACH - SAWYER'S AREA - DAY 11
11
A KNIFE IS SLAMMED INTO A SCABBARD. WIDEN OUT AS Sawyer
shoves it into his BACKPACK. He's focused -- angry
determination etched on his face.
WE PULL BACK as he rummages through the debris of his site,
packing for the hunt. He shoves various articles of FOOD and
CLOTHES into his pack.
And then we see Kate is there with him.
She sees Sawyer's site is a mess -- debris scattered about --
and he's filthy, covered in dried mud from his run-in with
the boar.
KATE
A boar. Did all this.
11 (CON T'D): 11
We can just feel the frustration rising off Sawyer.
SAWYER
Yes. A boar did all this.
(ranting)
Last night, it wrecked my tent.
Then, this morning, when I was
going to get my tent back, it
attacked me from behind, and ran
off into the jungle. Like a
coward.
Long beat as Kate stares at him.
KATE
A boar wouldn't... attack you for
no reason.
SAWYER
Thank you, boar expert. This one
did.
He searches through a pile, looking for something in
particular...
SAWYER (CONT'D)
(muttering)
It's harassing me...
He finds what he's looking for: HIS GUN.
KATE
What are you doing?
He checks the magazine, slams it into his gun. Tucks the gun
into his waistband.
SAWYER
Gettin' even.
KATE
(rolls eyes)
Listen to yourself. It's a boar.
Let's just... tell Locke, he'll go
kill it.
SAWYER
(muttering)
Nope. It's my fight...
11 (CON T'D): (2) 11
KATE
Do you know anything about hunting
boar?
He doesn't say anything as he straps on his backpack.
KATE (CONT'D)
Those things are dangerous.
SAWYER
So am I.
She glances to the heavens -- oh christ.
KATE
You're gonna get yourself lost. Or
worse...
SAWYER
Since when did you care?
KATE
I don't.
SAWYER
Good. Then if you'll excuse me...
CLOSE ON HIM as he walks by her, heading into the jungle --
SAWYER (CONT'D)
I got some revenge to tend to.
CUT TO BLACK:
END OF ACT ONE
ACT TWO
EXT. JUNGLE - DAY 12
12
Hurley pokes at something BELOW FRAME with a STICK.
HURLEY
Dude, I know how this works...
Charlie enters frame, sees what Hurley's doing:
CHARLIE
Trust me. He's dead.
We WIDEN TO REVEAL he's poking at a DEAD BODY wrapped for
burial in airplane blankets. Charlie holds his shovel,
Hurley's is next to his feet.
HURLEY
We put him in the ground,
everything seems cool, then when
we're about to leave, his hand pops
out of the dirt --
Charlie takes his shovel, breaks ground. Shrugs.
CHARLIE
(matter of fact)
S'pose we'll have to bury him deep,
then...
Hurley keeps his wary eyes focused on the body.
HURLEY
(shakes head)
Doesn't matter. There's no grave
that can hold the undead.
(beat)
No, this ends with you and me
running through the jungle,
screaming and crying --
CHARLIE
Hurley --
HURLEY
-- and then he catches me first,
`cause I'm heavy and I get cramps --
CHARLIE
Hurley --
Hurley snaps out of it, looks at Charlie.
12 (CON T'D): 12
CHARLIE (CONT'D)
(kind)
You don't have to do this, y'know.
I mean -- I appreciate the help and
all, I really do...
(beat)
But I killed Ethan. I can bury him.
And Charlie says it so simply, it brings Hurley back to
reality. He exhales:
HURLEY
Nah. I'm good.
He takes one last look at the body, then picks up his shovel.
HURLEY (CONT'D)
Let's just get it done.
Charlie nods. Hurley breaks ground next to him.
We're CLOSE ON HURLEY as he glances at Charlie -- how is
Charlie so calm about this?
EXT. JUNGLE - DAY 13
13
WE'RE MOVING SLOWLY through the dense foliage of the jungle
to find Sawyer creeping through the trees.
He's focused. Not making a lot of noise. It's clear he's in
tracking mode -- he gets low, studies --
A PRINT
Barely visible in the soil.
Sawyer looks it over, surveys the jungle in front of him. As
he does all this, we start to get the sense that Sawyer may
in fact know what the hell he's doing.
That is, until:
KATE (O.S.)
That's a footprint.
Sawyer's face falls. He turns and looks behind him. Finds
Kate walking out of the trees. She's wearing a BACKPACK. As
she speaks, it's all very matter-of-fact, no sense of
smugness whatsoever:
13 (CON T'D): 13
KATE (CONT'D)
(looking it over)
Based on the weight, distance
between strides... I'm pretty sure
you've been tracking Boone for the
last hour.
SAWYER
(annoyed)
Look --
KATE
Could be Jin, I suppose...
SAWYER
I'm tickled you've taken such an
interest in my affairs -- I really
am -- so don't take it personal
when I tell you to go --
KATE
I want carte blanche.
SAWYER
(after a beat)
What?
KATE
It's pretty simple. You can't
track this boar without my help.
SAWYER
Is that right?
KATE
That's right. Over the last few
hours, you've managed to follow the
tracks of --
(counts them off on her
fingers)
Humans, birds, a rockslide,
yourself... everything except a
boar, actually.
(beat)
You have no idea what you're doing.
And he can't do anything but steam -- because he knows she's
right.
KATE (CONT'D)
So I help you, I want carte
blanche.
(MOR E)
13 (CON T'D): (2) 13
KAT E (CONT'D)
(off his look)
It means "blank check."
SAWYER
I know what it means.
KATE
Every time I want something from
your stash -- medicine, soap,
whatever -- I get it. No questions
asked.
Goddamn it, does he want to tell her to fuck off. But he
knows he's screwed without her.
SAWYER
Carte blanche...
KATE
Take it or leave it.
And we see it -- the moment where he forces himself to put on
a good face and act like this doesn't bother him in the
slightest.
SAWYER
All right. You got a deal.
And as Sawyer watches her lead him away --
14
14 OMITTED
EXT. DOCKS - DAY - FLASHBACK A15
A1 5
Sawyer walks down an old dock toward a run-down boat repair
shop. Behind him we see one of the bridges of SYDNEY HARBOR
and a slice of the famous SYDNEY OPERA HOUSE.
He ducks into a boat repair shop past somebody welding.
LAURENCE (V.O.)
So you're Hibbs' mate, huh?...
Worked a few jobs with Hibbs back
in the States --
INT. BOAT REPAIR SHOP - DAY - FLASHBACK 15
15
CLOSE ON A VERITABLE ARSENAL of HANDGUNS spread out on a
table in a private room in the back of the shop.
Sawyer pulls out an ENVELOPE, starts counting out AUSTRALIAN
DOLLARS. Into the hands of LAURENCE, a gun dealer.
15 (CON T'D): 15
LAURENCE
-- nice enough fella.
SAWYER
He's a son of a bitch.
LAURENCE
Right. Indeed he is.
Laurence nods, picks up a WEAPON. Hands it to Sawyer.
15 (CON T'D): (2) 15
LAURENCE (CONT'D)
Few disclaimers. First off --
Australia doesn't allow its
citizenry to own handguns. You get
nicked with that --
SAWYER
(without looking up)
I ain't gonna rat you out.
LAURENCE
Secondly -- no refunds. Even for
dear friends a' mine such as
yourself. You decide you don't
need a weapon -- not my bikker.
SAWYER
(as he counts)
Won't be a problem.
LAURENCE
(studying him)
Been doin' this a while... a man
buys a compact .357 with hollow
point loads -- he ain't lookin' to
scare, or steal... he's lookin' to
kill.
And Sawyer stops counting for a moment, locks eyes with
Laurence.
LAURENCE (CONT'D)
And that's all well and good to
talk about in the beautiful Sydney
Harbor, but when it comes down to
it he may find he doesn't have what
it takes to do the job...
SAWYER
Your sales pitch needs some work.
LAURENCE
I'm sayin' -- you point a gun at a
man, you look him in the eye -- you
find out who you are.
(beat)
And if you should find that you're
not a killer -- well...
(beat)
There's no refunds.
15 (CON T'D): (3) 15
Sawyer looks at Laurence for a beat, then hands him the
money. As he picks up the weapon and the box of ammo:
SAWYER
Won't be a problem.
CUT TO:
16
16 INT. THE VALLEY - DAY
JACK AND CLAIRE in the caves. Jack has his fingers on her
wrist, checking his watch as they talk:
CLAIRE
(looks around)
So this is, like, our infirmary?
JACK
(shrugs)
Next best thing.
CLAIRE
I have a friend back home -- she's
really into holistic medicine --
the whole "hospitals are evil, keep
things natural" bit...
(beat)
She'd love this place.
JACK
(grins)
Any nausea? Headaches?
She shakes her head.
JACK (CONT'D)
Has the baby been moving at all?
CLAIRE
(nods)
`S like he's running laps in there.
Jack removes his fingers from her wrist.
JACK
Well if he's as strong as your
heart rate, you're both in great
shape...
(beat)
How are you holding up otherwise?
And we're on Claire for a beat as she hesitates, then:
16 (CON T'D): 16
CLAIRE
Okay.
JACK
Memory coming back?
CLAIRE
In bits and pieces.
(beat)
Certain people... seem familiar.
Like I've met them before in
another life.
(beat)
Helps, more I talk about it.
Brings things into focus, you know.
She shuffles a bit, getting at what's bothering her:
CLAIRE (CONT'D)
But... everyone's avoiding me.
(beat)
I think I freak them out. I'm "the
weird amnesia chick."
JACK
Nice to meet you "weird amnesia
chick," I'm the "heroic doctor."
CLAIRE
Is that so?
JACK
Minus the heroic part.
Claire smiles as Jack says in his most comforting tone --
JACK (CONT'D)
Give `em time.
(beat)
They're just... confused.
CLAIRE
Yeah, well...
(beat)
I know how they feel.
OFF CLAIRE, trying not to show how alone she feels --
17
17 OMITTED
EXT. JUNGLE - LATE AFTERNOON 18
18
Kate and Sawyer trudge through the jungle -- Dirty and SWEATY
(and on these two, somehow it looks GREAT), BREATHING HARD.
Kate stops, looks up at the sky. Frowns. Sawyer gets ahead
before he realizes she's not beside him. Turns --
SAWYER
What?
KATE
Gonna be dark in half an hour.
SAWYER
Then I guess we got half an hour to
catch us a hog.
Kate shakes her head, pulls off her PACK --
KATE
Suit yourself.
(points)
He went that way. I'm making camp
while I can still see.
SAWYER
What? You're just gonna let it get
away? How're we --
KATE
Boars sleep too.
ON SAWYER -- Frustrated, wanting to continue on...
But without his guide, he's completely helpless to do
anything about it. As he drops his OWN PACK in frustration --
19
19 EXT. JUNGLE - CAMPSITE - NIGHT'
CLOSE ON A FIRE as a PIECE OF DRY WOOD kicks up a field of
EMBERS as it's dropped into the flames.
Kate settles down next to the fire, Sawyer on the opposite
side. Two outlaws, camped out under the stars. Hell, if we
didn't know any better?
We'd think this was downright romantic.
Sawyer digs around his pack, finally finds what he's looking
for -- a MINI-BOTTLE OF VODKA. Cracks it open.
19 (CON T'D): 19
Tosses it back in one cool shot. REVEAL Kate, having watched
the whole process.
KATE
Where'd you get that?
SAWYER
Plane.
KATE SAWYER
Jack was looking for the
alcohol cart -- -- Well, it's a good thing I
found it instead then, huh?
Kate just looks at him. No idea what she's thinking. Then --
KATE
Got anymore of those?
SAWYER
I got more a' everything. But you
ain't got carte blanche yet.
KATE
Is that a "no?"
Now it's his turn to look at her. And dammit if Sawyer ain't
charmed. Reaches into his pack, emerges with a whole HANDFUL
of mini-bottles.
SAWYER
All right, Sassafrass -- but you
wanna drink? You gotta play.
KATE
(smelling the rat)
Play what?
SAWYER
I never.
KATE
What?
SAWYER
I. Never.
KATE
Am I supposed to know what that is?
19 (CON T'D): (2) 19
SAWYER
A game is what it is. Call it a
way to get to know each other
better. For example...
(grins)
I know you never went to college.
KATE
(he's right)
And how do you know that?
SAWYER
If you had, you'd a heard of "I
Never."
Sawyer tosses her a MINI-BOTTLE --
SAWYER (CONT'D)
Simple. You say "I never..." and
then finish the sentence. If it's
something you did, you drink. If
it's something you never did, you
don't drink.
Kate absorbs this. Then --
KATE
That makes absolutely no sense.
SAWYER
Then learn by example.
(declares)
I have never kissed a man.
(a beat)
Now you drink.
(another beat)
`Cause you've kissed a man.
Subtext -- That man being him. Kate sighs --
KATE
What's the object of this game?
SAWYER
What's the object of anything?
ON KATE. Deciding whether or not to embark on this
foolishness. Sawyer's just lookin' at her, eyes twinkling --
So she cracks open her bottle. DRINKS. Sawyer grins,
impressed --
19 (CON T'D): (3) 19
SAWYER (CONT'D)
Your turn.
KATE
(thinks; then)
I've never implied I went to
college when I really haven't.
And Sawyer's grin is GONE. But rules are rules. He drinks.
SAWYER
I never been to Disneyland.
Kate does NOT drink.
SAWYER (CONT'D)
Aww. That's plain sad.
KATE
I've never worn pink.
Sawyer GLARES at her. But DRINKS. By way of explanation --
SAWYER
The eighties.
(moving on)
I never voted Democrat.
Kate doesn't drink.
KATE
I've never voted.
Sawyer smiles. Drinks.
SAWYER
I never been in love.
KATE
(bullshit)
You've never been in love.
SAWYER
Ain't drinking, am I?
Kate might not buy it (hell, WE might not buy it), but she
drinks. Then --
KATE
I've never had a one-night stand.
Sawyer takes a healthy swig.
19 (CON T'D): (4) 19
SAWYER
I gotta drink for each one?
KATE
(ha-ha)
Your turn.
SAWYER
I never been married.
Kate eyes him for a second. And then she takes a little sip.
KATE
Didn't last long.
Sawyer, INTRIGUED as she reaches for a new bottle --
KATE (CONT'D)
I never blamed a boar for all my
problems.
Yet, Sawyer DRINKS.
O-kay. Now it's getting personal.
Fires back --
SAWYER
I never cared about getting carte
blanche `cause I just wanted to
spend some time with the only other
person on this island who just
don't belong.
On KATE. And that flash of VULNERABILITY. Yeah -- He
fucking NAILED her. But she meets his gaze. Takes a drink.
And fires right back:
KATE
I never carried a letter around for
twenty years because I can't get
over my baggage.
And Sawyer goes cold. Locks that stare into her. But
drinks. Holds the stare for a beat, then:
SAWYER
I never killed a man.
And there it is. After all this time. The handcuffs. The
case. The guns. The Marshal. It doesn't matter when he
found out, but he KNOWS.
19 (CON T'D): (5) 19
He looks at her, for a reaction. SEES a flash of intense
vulnerability, then covers it. She doesn't want to give him
the fucking satisfaction.
And she drinks.
ON SAWYER. Not as surprised as we might expect him to be.
But what is surprising...
Is that Sawyer drinks TOO. Drains his whole mini-bottle.
And when he's done --
SAWYER (CONT'D)
Well, looks like we got something
in common after all.
And OFF this dark tableau --
CUT TO BLACK:
END OF ACT TWO
ACT THREE
INT. BEDROOM - NIGHT - FLASHBACK 20
20
OVER BLACK WE HEAR:
FEMALE VOICE
Don't come out. Don't make a
sound.
ON A GUNSHOT we CUT IN to the FLASHBACK we saw at the
beginning of the Teaser: Young Sawyer's under the bed, we
hear the quick succession of shots -- bang bang bang bang.
And then SILENCE.
PUSH IN on young Sawyer. He's terrified -- we hear his
sharp, quick BREATHS. As he looks out from under his bed, we
hear the sound of SOMETHING walking across the hardwood
floor. The boy's eyes go wide.
HIS POV -- as the door to his room opens -- CREEAAK -- just
like we saw before...
WHISPERED VOICE (O.S.)
I was gonna pay...
But then, instead of boots, we see THE HOOVES OF A BOAR walk
in through the bedroom door.
KATE (O.S.)
-- Sawyer --
EXT. JUNGLE - MORNING 21
21
Sawyer awakes with a start as Kate rousts him from his
nightmare.
KATE
Sawyer --
SAWYER
Wh-what --
He focuses, realizes he's been dreaming. He exhales, rubs
his eyes -- jesus christ...
KATE
You okay?
(beat)
You're shaking...
21 (CON T'D): 21
SAWYER
(shakes head)
I'm... fine... It was just a --
Off his look we CUT WIDE TO REVEAL their camp has been
RANSACKED. The entire contents of Sawyer's backpack are
strewn all about the area -- torn clothes, empty liquor
bottles, food wrappers. It's a mess.
SAWYER (CONT'D)
I don't believe this...
KATE
(reluctant)
Yeah. There's... hoof marks
everywhere and most of your stuff
looks like it's been... chewed.
SAWYER
Look at this!
KATE
I can't figure out how we didn't
wake up --
SAWYER
(looking around, furious)
It ate all our stuff...
KATE
No, it only destroyed your stuff.
My stuff's fine.
She points -- there's her backpack on the ground, completely
intact. Sawyer's face darkens.
SAWYER
That hog's gonna suffer, I swear to
god --
And as he says that, they hear a rustling in the jungle.
Sawyer locks eyes at Kate -- Whip-fast, he yanks the gun from
his waistband, aims it just as
LOCKE
Walks right into their campsite. Backpack strapped to his
shoulders. He's eating a piece of fruit, not bothered in the
slightest.
LOCKE
Mornin'.
21 (CON T'D): (2) 21
They just stare at him -- what the fuck is he doing way out
here? Locke takes a bite of his fruit, surveying the mess
around them. Then:
LOCKE (CONT'D)
What happened to your campsite?
22
22 EXT. JUNGLE - MORNING - LATER
CLOSE ON A TIN POT heating coffee over the fire. WIDEN OUT
as Locke pulls the pot off, pours CUPS for himself and Kate.
While they talk, Sawyer angrily walks around camp, picking up
his destroyed items --
KATE
So what're you doing all the way
out here, John?
LOCKE
Looking for salvage from the crash.
Tail came off over the water, so we
were losing pieces as we came in.
I've been back-tracking the course.
KATE
Find anything useful?
LOCKE
The occasional scrap of metal --
(raises his cup)
-- few bags of coffee. Stumbled
across your path about a mile back
-- thought I'd say howdy.
Kate studies Locke for a moment. Maybe starting to feel that
Locke ain't exactly telling the complete truth here. Then --
SAWYER
SONOFABITCH!
Sawyer throws down a T-SHIRT like it's on fire --
SAWYER (CONT'D)
It peed on my damn shirt!
(amazed almost)
Took my shirt out of my pack and
peed on it.
(pointing at the shirt)
I wore that shirt the day we came
here. Only piece of clothing that
was mine. And he peed on it.
(MOR E)
22 (CON T'D): 22
SAW YER (CONT'D)
(glares at Kate)
And you say this ain't personal?
Kate shakes her head, turns to Locke --
KATE
He's convinced the boar we're after
has a vendetta against him.
LOCKE
Uh huh.
SAWYER KATE
That's three! Three times he
attacked me... -- Maybe it's got your scent.
Doesn't like your cologne...
SAWYER KATE
I don't wear cologne.
-- Yes you do.
SAWYER
Yeah. Well...
(fuck you)
He's got it in for me.
KATE
It's just a boar.
Sawyer stares at Kate. Kate stares at Sawyer. Then --
LOCKE
My sister Jeannie died when I was a
boy. She fell off the monkey bars.
Broke her neck.
Kate and Sawyer turn to Locke, both wondering what's gonna
justify that segue --
LOCKE (CONT'D)
My mother -- well, she blamed
herself of course. Thought she
should've been watching closer.
(beat)
So she stopped eating. Stopped
sleeping. Then she just stopped
speaking all together. She'd just
sit on the couch and stare off into
space. The neighbors started
talking -- afraid she might do
something to herself, I guess.
(takes a sip of his
coffee; savoring it)
(MOR E)
22 (CON T'D): (2) 22
LOC KE (CONT'D)
Mmmmm. That's good.
(then)
Anyway, about six months after
Jeannie's funeral, this golden
retriever comes padding up our
driveway, walks right into our
house, sits down on the floor and
looks right at my mother there on
the couch. And my mother looks
back at the dog. And after a
minute of this -- them both staring
at each other like that...
(beat)
My mother burst into tears.
Kate looks to Sawyer, but he is absolutely RIVETED on Locke --
LOCKE (CONT'D)
Beautiful dog. No tags. No
collar. Healthy. And sweet. A
little older than a puppy. About
six months, we figured.
(and here it is)
Dog slept in Jeannie's old room on
Jeannie's old bed and stayed with
us until my mother passed eight
years later. Disappeared back to
wherever it was she came from in
the first place.
Locke drains his coffee. Story ended. Sawyer still
transfixed, but Kate? Well, Kate's a pragmatist --
KATE
You're saying the dog was your
sister?
LOCKE
Well that would be silly.
Then, he turns to Sawyer --
LOCKE (CONT'D)
But my mother thought it was.
Thought Jeannie came back to let
her know that it was okay. To tell
her the accident wasn't her fault.
To let her off the hook.
And Sawyer does not like Locke's gaze. Because somehow, it
can SEE right INTO HIM.
22 (CON T'D): (3) 22
And as twisted and bizarre as this parable is, we're most
certain that Sawyer is BUYING INTO IT --
SAWYER
So whose fault was it.
LOCKE
Sorry?
SAWYER
The accident. On the monkey bars.
LOCKE
Oh.
(thinks; then)
I don't know. Wasn't there.
SAWYER
Then who says your sister wanted to
let your momma off the hook?
Locke considers this. Then --
LOCKE
Well I suppose if she hadn't...
(beat)
Jeannie would've come back as a
much meaner dog, wouldn't she?
Locke smiles... but Sawyer doesn't take it as a joke. Not at
all. And as we PUSH IN ON SAWYER we CUT TO:
EXT. SHRIMP TRUCK - DAY - FLASHBACK 23
23
CLOSE ON a car door opening. Out steps Sawyer. And he's
holding the .357 REVOLVER he purchased at his side. He puts
it in his coat pocket.
WIDEN TO REVEAL Sawyer is standing not far from a lonely
SHRIMP TRUCK open for business on the side of the Australian
beach. Sawyer scans the area. Nobody is around except a
single customer at the truck.
And now Sawyer slowly starts walking towards it. His hand's
in his jacket pocket, holding the gun.
He approaches the truck. Gets in line behind the remaining
CUSTOMER. As he does so, he glances up toward the man
working at the counter and we see --
23 (CON T'D): 23
It's him.
The guy who ruined Sawyer's life. The guy Hibbs showed us
with the picture in Act One. The Original Sawyer (but for
the sake of clarity, let's refer to him by his current alias,
"Duckett.")
DUCKETT's middle-aged. Sagging face. He has a sense of
danger about him -- a tough guy stuck behind the counter of a
second-rate shrimp truck.
ON SAWYER -- his eyes are locked on Duckett. And as we HOLD
ON HIM, everything GOES QUIET.
ON DUCKETT -- he takes the money from the customer in front
of Sawyer. Everything played silent.
BACK ON SAWYER -- we see it play out on his face -- he's
found him. The man he's been looking foro his entire life.
Sawyer's so focused, in fact, that he fails to realize --
DUCKETT (O.S.)
Hey -- pal --
Duckett's talking to him.
DUCKETT (CONT'D)
Only two choices -- shrimp in mild
sauce and shrimp in hot sauce.
Sawyer snaps out of it. Swallows.
SAWYER
I'll go with the hot...
DUCKETT
(nods)
Hot it is...
He turns around, places a handful of shrimp in a basket,
drops the basket in boiling water. As he works, he speaks
over his shoulder:
DUCKETT (CONT'D)
Fellow American, huh?... Good for
you. You missed the lunch rush.
Sawyer looks to his left -- EMPTY BEACH. He looks to his
right -- EMPTY BEACH. They're alone.
23 (CON T'D): (2) 23
DUCKETT (CONT'D)
Whereabouts you from?
He stares at Duckett's back. Keeping his eyes locked on him.
SAWYER
Tennessee...
But as Sawyer stares at him, we see his eyes start to waver.
Something's wrong...
DUCKETT
(nods)
Love the South. Miss the southern
women.
Now that Sawyer's in the moment, he's having second thoughts.
Because it's not that easy to kill a man. And we see it play
out on his face.
DUCKETT (CONT'D)
You in Australia long?
SAWYER
Not really.
Sawyer wipes the rain out of his eyes. Duckett continues
with his business, pulling the shrimp out the water.
DUCKETT
Well -- fer what it's worth -- I
run a special here at the truck --
half off for all Americans.
He turns around, faces Sawyer.
DUCKETT (CONT'D)
My name's Frank, by the way.
And we HOLD ON SAWYER -- what does he tell him? A beat,
then:
SAWYER
(quietly)
James.
Duckett nods, turns back around.
DUCKETT
Good to meet ya, James.
23 (CON T'D): (3) 23
WE'RE CLOSE ON SAWYER -- on his face: the moment he realizes
he's not a killer. He looks down -- what am I doing?
ON DUCKETT, wrapping the shrimp up for sale.
DUCKETT (CONT'D)
Okay -- one shrimp in hot sauce
comin' right --
But as he turns back around, we reveal Sawyer's gone.
DUCKETT (CONT'D)
-- up...
CUT TO:
24
EXT. BEACH - DAY
24
Sayid's on the beach, diligently going over his MAPS.
HURLEY (O.S.)
Yo Sayid --
Sayid looks up, finds Hurley approaching.
HURLEY (CONT'D)
Can I ask you a question?
Sayid nods -- of course.
HURLEY (CONT'D)
Did you ever get like, Gulf War
Syndrome?
SAYID
(with patience)
That was the other side.
HURLEY
Oh. Right.
SAYID
(frowns)
Why do you want to know if I've had
chemical attack-related illness?
HURLEY
Becau --
(beat)
That's what Gulf War Syndrome is?
Sayid nods.
24 (CON T'D): 24
HURLEY (CONT'D)
What's the one where you're all...
shellshocked?
SAYID
Post Traumatic Stress Disorder.
HURLEY
(snaps his fingers)
That's it.
(beat)
Did you ever have that?
SAYID
Again -- why do you ask?
HURLEY
I'm worried about Charlie...
SAYID
What's wrong with Charlie...
HURLEY
Well -- nothing.
(off Sayid's look)
That's just it -- I mean, he killed
a man -- shot him four times in the
chest -- and he's acting like he's
totally fine...
And as Sayid takes this in --
EXT. RIVER CREEK - DAY 25
25
CLOSE ON SAWYER, trekking with purpose through the jungle
past a creek. Kate's a few steps behind him -- he seems to
be following the boar's tracks on his own.
KATE
You don't believe him, do you?
SAWYER
Man says he's tracking wreckage,
he's tracking wreckage.
KATE
No, I mean, about the boar...
25 (CON T'D): 25
SAWYER
(shrugs)
Let's just say it'll be fun to see
what it comes back as in its next
life.
KATE
Sawyer -- seriously --
But he's got that INTENSITY in his eyes -- he's barely paying
attention as he presses onward.
KATE (CONT'D)
Sawyer --
She stops in her tracks. Once he realizes she's no longer
following him, he turns, looks at her.
KATE (CONT'D)
What are we doing?
(beat)
We're miles from camp. Even if we
manage to find it, it weighs what?
Eight hundred pounds? There's no
way we're going to be able to bring
it back.
SAWYER
Who said anything about bringing it
back?
CLOSE ON SAWYER as he turns, continuing onward --
SAWYER (CONT'D)
We're out here to kill it.
INT. BAR - DAY - FLASHBACK 26
26
CLOSE ON SAWYER as he TOSSES BACK A SHOT of something dark
and dirty --
SAWYER
Again.
WIDEN to find him bellied up to a BAR. Dingy. Sawdust on
the floor. Immediately get the feeling that we are in the
armpit of Sydney -- You come to this place to DRINK. Still,
THE AUSTRALIAN BARTENDER eyes Sawyer warily --
BARTENDER
You sure about that, mate?
26 (CON T'D): 26
SAWYER
(I'm fucking sure)
Again.
On Sawyer. ANGER. SELF-LOATHING -- more than usual. And so
the bartender fills the shot glass again. That's when --
VOICE (O.S.)
You tell him, cowboy. These
bastards think Americans can't hold
their liquor.
The VOICE comes from the man sitting at the bar next to him
(who, at this point, is out of frame.) Sawyer glances at
him, then tosses back his shot --
SAWYER
Again.
This time, the Bartender fills the glass without protest as
The VOICE (does it sound somehow familiar?) comes again --
VOICE (O.S.)
Hate to put my hand out -- but I
can't seem to find my wallet. Any
way you could...?
SAWYER
(to the bartender)
Set him up.
In the FOREGROUND, the Bartender sets up a glass. POURS. A
HAND reaches in (okay, why aren't we SHOWING this guy?),
folds around it, APPRECIATIVE --
VOICE (O.S.)
I drink to you. What's your name,
cowboy?
SAWYER
Sawyer.
The hand raises the GLASS --
VOICE (O.S.)
To Sawyer. May he find whatever
he's looking for at the bottom of a
glass.
And this -- hopefully -- is one of those moments where people
lose their FUCKING MIND. Because we follow the glass up to
the lips of...
26 (CON T'D): (2) 26
CHRISTIAN SHEPHARD. Jack's father.
And for the loyal fans of the show with an astute enough
memory, we're probably realizing right now that this might be
Shephard's last day on Earth.
For the rest of us? Well, we'll figure it out eventually.
SHEPHARD
So, Sawyer -- what brings you to
Sydney?
SAWYER
Business.
SHEPHARD
Three PM on a Tuesday afternoon and
you're throwing back bourbon.
(smiles)
That's my kind of business.
SAWYER
What brings you to Sydney?
SHEPHARD
Furthest I could run.
(beat; then)
Know why they call Australia "Down
Under?" `Cause it's as close to
hell as you can get without getting
burned.
Sawyer actually SMILES at that one. If this guy only knew.
To the Bartender --
SAWYER
How about you leave the bottle,
Slim.
The Bartender obliges. Sawyer pours two more shots.
SAWYER (CONT'D)
What's your handle -- back in the
States?
SHEPHARD
I...
(downs the shot)
Was a Chief of Surgery.
26 (CON T'D): (3) 26
SAWYER SHEPHARD
Was?
-- Was.
SAWYER
So we're in hell, huh?
SHEPHARD
Not in. Just close. Or maybe on
our way.
Sawyer shakes his head --
SAWYER
Speak for yourself.
SHEPHARD
Don't let the air conditioning fool
you, son. You're here, too. And
you're suffering.
ON SAWYER. Bingo. And Shephard knows it.
SHEPHARD (CONT'D)
Hey -- Don't beat yourself up about
it. It's fate. Some people are
supposed to suffer. It's why the
Red Sox'll never win the damn
Series -- They're made to suffer.
SAWYER
(defiant)
I ain't made to do anything.
SHEPHARD
Okay. Then let me ask you
something, Sawyer -- Do you have
the means to end it?
SAWYER SHEPHARD
What the hell are you --?!?
-- Your suffering. Do you
have the means to put it to
rest? Make it go away?
Sawyer is NAILED again. His look says it all.
SHEPHARD (CONT'D)
Yeah. Me too.
(drinks)
But we don't end it, do we?
26 (CON T'D): (4) 26
Shephard slides a little closer. And this does NOT play
drunk. In fact, it's extremely lucid. Plain. And SAD.
SHEPHARD (CONT'D)
I have a son -- about your age.
He's not like me. He keeps it
simple, does what's in his heart.
A good man. Maybe a great one.
(beat)
Right now, he thinks I hate him.
That I feel betrayed by him. But
what I really feel?
(hard to say)
Is gratitude. And pride. Because
what he did to me? For me? It
took more courage than...
(there isn't a word; so)
There's a payphone over there. I
could pick it up, call my son. And
I could tell him all this.
(beat)
And I could tell him I love him.
(beat)
One simple phone call and I could
fix... everything. I could take
away his suffering.
ON SAWYER. Taken by all this. Affected by it. So he asks
the question we all want the answer to --
SAWYER
Why don't you?
And Shephard knows the answer instantly --
SHEPHARD
Because I'm weak.
Shephard picks up the bottle now. Pours two more.
SHEPHARD (CONT'D)
You close with your father?
WE'RE CLOSE ON SAWYER as that question lands --
SAWYER
He died when I was a kid.
Shephard nods. Then --
26 (CON T'D): (5) 26
SHEPHARD
This "business" you've got.
(beat)
Will it ease your suffering?
SAWYER
(thinks about it)
Yeah.
SHEPHARD
Then what are you doing here?
SAWYER
It's not that simple.
SHEPHARD
Sure it is.
(downs his shot; then)
Unless you want to end up like me.
ON SAWYER, wheels turning. What this stranger has just told
him begins to sink in. AND MAKES SENSE. His face hardens...
SAWYER
What's your name, Doc?
SHEPHARD
Christian.
And Sawyer gets up, throws some BILLS on the bar. Turns to
Shephard, puts his hand out --
SAWYER
Thank you, Christian.
And as Jack's father shakes Sawyer's hand --
SHEPHARD
Good luck, Sawyer.
INT. SAWYER'S CAR - NIGHT - FLASHBACK 27
27
THE CAR STOPS. No headlights. Windshield wipers SLAP
against a POURING RAIN. Sawyer looks out the watery glass
at the SHRIMP TRUCK, the lone beacon of light against the
dark night.
Sawyer SEES the distant figure of Duckett in the truck
working. Sawyer opens the glove box, pulls out the .357.
In QUICK CUTS he SLAMS the magazine in place, ready to go,
and stuffs it into his jeans.
27 (CON T'D): 27
He throws the car door open and heads for the truck, walking
toward CAMERA, his face darkening with GRIM DETERMINATION...
END OF ACT THREE
ACT FOUR
EXT. BEACH - DAY 28
28
THWACK! A make-shift machete (made from a sharp piece of
aircraft metal with a wrapped handle) LOPS THE TOP OFF a
coconut husk.
WIDEN to reveal Charlie using the machete. He's sitting on
the beach husking coconuts and stacking four or five finished
ones. He's working skillfully but without much enthusiasm.
SAYID (O.S.)
You're developing quite a talent.
Charlie looks up to see Sayid there.
CHARLIE
Yeah well, you know, musical trends
being what they are... who knows
what'll be popular when we get back
home?
(thwack!)
Now I've got a skill I can fall
back on.
He works the latest coconut from its husk and tosses it on
the pile. Sayid sits down next to him. Charlie turns and
meets Sayid's concerned stare.
CHARLIE (CONT'D)
Oh, I get it. You're here to check
up on me...
SAYID
(simple; but without any
judgement)
You killed a man.
CHARLIE
A man who killed one of us, who
kidnapped Claire -- who strung me
up and left me for dead. He
deserved to die -- and I'd do it
again in a minute...
THWACK! Harder now with the machete. This whole little
speech comes out stronger than Charlie intended --
CHARLIE (CONT'D)
So pardon me if I'm fresh out of
bad feelings.
28 (CON T'D): 28
Sayid nods. Then after a beat --
SAYID
When I was in the army in Tikirt,
in Iraq, the man who lived next
door was a policeman. One day his
car was rigged with a bomb. It
went off but it missed him -- it
killed his wife and two young
children instead.
(beat)
They caught the man who did it.
(another beat)
I volunteered to be on the firing
squad. And I did my duty without a
single ounce of remorse.
Charlie listens to Sayid, acting somewhat disinterested --
but the thing is, he's stopped work completely.
SAYID (CONT'D)
Then... for no reason, I started
waking up nights. Replaying what I
did in my mind.
CHARLIE
Looks like you're the one who needs
checking up on.
SAYID
What I'm saying is this: what
happened with Ethan will be with
you for the rest of your life.
CHARLIE
Meaning an impending lack of sleep?
SAYID
More than that.
Charlie now meets Sayid's eyes. They bore right into him.
Charlie's try for a casual and slightly flippant attitude is
providing him literally no cover.
CHARLIE
Any suggestions?
SAYID
(simply)
You're not alone. Don't pretend to
be.
28 (CON T'D): (2) 28
OFF Charlie as that lands with more impact than he thought.
EXT. JUNGLE - DAY 29
29
Sawyer and Kate trek through the jungle. They push through
the tangled vegetation, Kate scanning the ground ahead of
them, "cutting for sign."
They are dirty, sweaty and breathing hard. Sawyer looks
around at the dense, bleak jungle as they march forward.
SAWYER
I take comfort in knowing...
someday this is all gonna be a real
nice shoppin' complex or maybe an
auto mall...
Kate is focused on something else. She veers quickly off
their path onto a narrow sliver of trail.
SAWYER (CONT'D)
Where ya goin'?...
Kate stops ahead on the trail because she's found something.
She waits for Sawyer to catch up. Which he does.
KATE
Know what this is?
SAWYER
A hole in the mud?
KATE
A wallow.
SAWYER KATE
What the hell's a wa--
-- A boar's wallow. It's his
den, where he sleeps. And
look at the tree rubbings
from his tusks.
SAWYER
(intent now)
You mean he's around here?
KATE
Maybe
That's when Sawyer hears a RUSTLING NOISE.
29 (CON T'D): 29
SAWYER
Hear that?
29 (CON T'D): (2) 29
Sawyer rushes into the bushes following the noise. He's all
AMPED UP. URGENT and INTENSE. KNOWING he's damn close to
finding the boar now.
KATE
Wait --
Too late. We hear RUSTLING, BRUSH CRASHING, BRANCHES
SNAPPING -- and we HEAR Sawyer GRUNTING, SCRAMBLING --
KATE SAWYER (O.S.)
Sawyer?!...
Gotcha!
Followed by an intense SHRIEKING HIGH-PITCHED SQUEAL. Kate
starts after him, but then the bushes part and Sawyer
reemerges -- holding a BOAR PIGLET.
KATE (CONT'D)
(deadpan)
I thought it'd be bigger.
SAWYER
Funny. Now we know daddy's gotta
be close by.
So Sawyer grabs the piglet's little leg and starts TWISTING
IT. The piglet starts to WAIL LIKE A BANSHEE. SQUEALING and
YELPING INSANELY.
KATE SAWYER
Stop it Sawyer! What is the
matter with you?!
Here PIGGY, PIGGY, PIGGY -- !
Stop it! Damn it! Let it (twisting some more)
go! Over here, daddy!
PUT IT DOWN -- RIGHT NOW! Where are ya?! `Cause we're
right over here!
I said PUT IT DOWN!
She tries to grab the piglet but Sawyer twists away from her,
so Kate does the only reasonable thing she can do -- she
KICKS SAWYER IN THE ACHILLES TENDON. Kicks him HARD.
SAWYER (CONT'D)
OWWW! What are YOU DOIN'?!
In his weakened state Kate GRABS THE PIGLET from his arms --
and lets it go. The piglet hits the ground scrambling for
purchase -- SQUEALING like crazy -- and SCURRIES OFF fast as
its little legs can carry it into the bushes.
29 (CON T'D): (3) 29
KATE SAWYER
You're SICK!
I didn't hurt it!
She starts to storm off.
KATE
We're done. Game over.
SAWYER
What are you talkin' about?! --
KATE
Find your own way back.
SAWYER
No problem.
And she strides away, angry as hell. OFF Sawyer, pissed,
watching her go, but still on this fucking mission.
EXT. SHRIMP TRUCK - NIGHT - FLASHBACK 30
30
RAIN is still FALLING. Duckett is closing up his shrimp
truck. He hefts a large TRASH BAG, carries it to a nearby
DUMPSTER.
REVERSE to find Sawyer, waiting. Now he starts walking
towards Duckett. And he's different. No longer nervous. No
longer conflicted. His conversation with Jack's dad has him
steeled for what he has to do.
As Duckett hefts the garbage bag into the dumpster, Sawyer
walks up behind him --
SAWYER
Sawyer --
And as Duckett turns around --
BAM -- Sawyer shoots him. Right in the stomach.
Duckett DROPS. He lands on the ground, back against the
dumpster. Not quite dead. Not yet.
Sawyer kneels down next to him. Duckett gasps, shock
splashed all over his face.
Sawyer calmly reaches into his pocket and pulls out his
LETTER (last seen in episode 106.)
30 (CON T'D): 30
SAWYER (CONT'D)
I got a letter for you...
30 (CON T'D): (2) 30
Duckett squirms on the ground, holding his stomach, life
draining out of him. He looks at his hands -- they're
covered in blood.
SAWYER (CONT'D)
"Dear Mr. Sawyer -- "
DUCKETT
(coughing)
Who --
And that's enough to give Sawyer pause.
SAWYER
You used to go by the name
Sawyer...
Duckett shakes his head, losing focus.
DUCKETT
The hell you talkin' about...
He coughs, looks at his hands again.
DUCKETT (CONT'D)
You didn't have to --
(beat)
Tell Hibbs I would've...
And as soon as Sawyer hears "Hibbs" his face drops.
SAWYER
You know Hibbs?
(beat)
How do you know Hibbs?
But Duckett's almost gone.
DUCKETT
Tell Hibbs I would've paid him...
SAWYER
(putting it together)
You borrowed money from Hibbs...
Duckett coughs, looks at Sawyer.
DUCKETT
You don't know what you're doing,
do you...
(glassy eyed)
It'll come back around.
30 (CON T'D): (3) 30
And as he dies, he whispers his final words:
DUCKETT (CONT'D)
I was gonna pay...
Sawyer stares at Duckett.
And we see it play out on his face: He's been fucking conned.
And we're CLOSE ON Sawyer when the horror of the full-
realization hits him: he's now a cold-blooded killer.
EXT. JUNGLE - DAY 31
31
Sawyer spins around 360 degrees, realizes he's fucked out
here by himself. He makes up his mind, jams off through the
jungle after Kate, pissed but exasperated that she deserted
him.
SAWYER
Kate!
32
EXT. MORE JUNGLE - DAY - CONTINUOUS
32
Sawyer strides into a more open area, looks around, trying to
follow the direction she took -- but hell -- he doesn't know
-- and she's nowhere in sight.
SAWYER
C'mon, Kate! Where are y--?
Suddenly, he stops short. Even backs up a step or two
because standing right in his path is the fucking BOAR. That
big one. The one he's been hunting.
Sawyer draws his gun.
The boar doesn't move -- doesn't go anywhere. Instead, its
head turns and A BIG BROWN EYE stares over at Sawyer.
Sawyer, looks out over his outstretched gun, stares right
back at the boar.
Now we see KATE step INTO VIEW, behind Sawyer. But he
doesn't see her.
Instead, for the longest moment Sawyer and the fucking boar
have a STARE-OFF. They look at each other.
And from the intense expression on Sawyer's face we're just
waiting for him to pull the trigger...
32 (CON T'D): 32
But he doesn't. Instead he lowers the gun.
The BOAR waits a final beat, watching him, then turns and
walks off into the brush.
Sawyer stands there, gun hanging down at his side, trying to
collect himself.
Now he senses something -- turns to see Kate watching him.
SEES that she saw the whole thing -- and in her face is an
appreciation for what he just did. Except Sawyer DOESN'T
WANT IT. He walks right back past her. Meets her eyes for
only the briefest of moments to say --
SAWYER (CONT'D)
(shrugs)
It's just a boar.
(as he goes)
Let's get back to camp.
Kate takes this in then walks after him, drawn toward this
complicated, troubled soul. Because she is one herself.
CUT TO BLACK:
END OF ACT FOUR
ACT FIVE
EXT. JUNGLE - DUSK 33
33
FIND Kate and Sawyer walking back out of the jungle and onto
the beach.
KATE
...a deal's a deal.
SAWYER
The deal was for toiletries --
KATE
"Carte blanche." Whatever I want.
And I want the gun.
And now we see they are being observed by Jack, much further
down the beach. Way out of earshot, and they do not see him,
but he SEES them returning together and takes note.
BACK ON SAWYER AND KATE
SAWYER
I didn't kill the damn hog --
KATE
I said I'd help you find it. We
found it.
Sawyer stops in his tracks, realizing something.
SAWYER
Jack asked me for the gun two days
ago...
(beat, cold)
That why you came on this trek --
to do your doctor boyfriend a
favor?
She meets his gaze, not giving him an inch.
KATE
You needed help. I helped. You
don't like the deal?
(beat)
Not my problem.
As Sawyer stares at her, jaw set, mulling this.
34
34 EXT. BEACH - DUSK
We're ON CLAIRE as she watches DOWN THE BEACH --
34 (CON T'D): 34
Walt and Vincent are running through the shallows of the
ocean. Laughing. PLAYING. Michael is there also, now
adding decking to connect his bundled bamboo pontoons. (Or
whatever appropriate advancements we see in the raft
construction.)
34 (CON T'D): (2) 34
Beyond them, JIN and SUN are working together making
(repairing or adding to) Jin's fishing net. They are
comfortable, working in tandem. Make small talk to
themselves.
BACK ON CLAIRE -- Hand on her belly, brow furrowed. This is
A JOY she is trying to connect to.
CHARLIE
Hey.
Claire turns to see CHARLIE.
CLAIRE
Hey.
CHARLIE
Wanna go for that walk?
Claire looks at him. Sees him trying to reestablish their
connection.
CLAIRE
Sure.
He helps her up and they walk off together down the beach --
35
35 EXT. OUTSIDE THE VALLEY - DUSK
AS JACK moves some gear, we hear a voice behind him say:
SAWYER (O.S.)
Stick `em up.
Jack turns around, FINDS SAWYER, his gun actually pointing up
at Jack from his hip. OUTLAW STYLE. Jack regards him, then:
JACK
You trying to be funny?
SAWYER
Yeah. But I was fresh out of pies
to throw atcha.
And we sit in this tableau for just a few moments longer.
Despite the smile on Sawyer's face, it's TENSE. And it's a
reminder that these two are not big fans of one another.
Finally, Sawyer turns the gun around, extends it to Jack --
who, to say the least, is SURPRISED by the gesture --
35 (CON T'D): 35
SAWYER (CONT'D)
Here ya go, Sheriff.
JACK
I asked you for this two days ago --
SAWYER
-- and I told you to stick it.
(beat)
Guess I had a change of heart.
SAWYER turns, starts heading out of the cave. We're on him
as we see Jack in the background ask:
JACK
What'd she give you?
Sawyer turns around, locks eyes with him.
SAWYER
Sorry?
JACK
(don't fucking play with
me, asshole)
Kate. What'd she give you?
Sawyer considers this. Reads a hint of Jack's jealousy here.
And then? He GRINS --
SAWYER
Nothin' she wasn't willing to part
with.
Jack shakes his head. Not gonna take the bait. Turns his
back on Sawyer, resumes with his gear --
Sawyer's grin WIDENS, pleased with himself as he again turns
to go -- And he BARELY hears Jack mutter to himself --
JACK
That's why the Sox'll never win the
series.
Turns back --
Sawyer freezes.
SAWYER
What'd you just say?
Jack keeps his back to Sawyer, continuing with his GEAR --
35 (CON T'D): (2) 35
JACK
Huh?
SAWYER
What'd you just say?
JACK
I said "That's why the Red Sox will
never win the Series."
SAWYER
What the hell does --?!?
JACK
Something my dad used to say. So
he could go through life knowing
people hated him. Instead of
taking responsibility, he put it on
fate. Said he was made that way.
ON SAWYER as the synapses fire. Connections are made.
Revelations are realized. He can't fucking believe it.
SAWYER
Your daddy -- He a doctor, too?
JACK
He was. He's dead.
Then it occurs to Jack that he's actually having this
conversation with Sawyer. He stops, turns back to him --
JACK (CONT'D)
Why do you want to know about my
father?
AND WE HOLD ON Sawyer for a LONG BEAT -- REAL LONG. And
here's his opportunity to let Jack off the hook. To end his
suffering. To tell Jack his father didn't blame him for what
happened. To tell him his father did take responsibility for
his actions. To tell Jack his father LOVED HIM.
And finally --
SAWYER
No reason.
Oh. Fuck.
And ON SAWYER -- wondering how he can have more compassion
for a fucking boar than he can for this man...
35 (CON T'D): (3) 35
But if he's gonna suffer? So is everyone fucking else.
And as he turns away from Jack and WALKS OFF --
CUT TO BLACK:
THE END
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