LOST
"Pilot"
Written by
J.J. Abrams & Damon Lindelof
ACT ONE
OVER BLACKNESS, MUSIC. OMINOUS AND FOREBODING. THEN, OUT OF
THE DARKNESS, A SINGLE WORD. FLOATING IN SPACE, OUT OF
FOCUS, TOWARD CAMERA. AS IT APPROACHES IT COMES INTO FOCUS,
BUT IT'S SHARP ONLY FOR A BRIEF MOMENT:
LOST
AS IT NEARS US IT AGAIN LOSES FOCUS -- AND AS WE MOVE THROUGH
THE "O" OUR MUSIC CRESCENDOS, THEN STOPS ABRUPTLY AS WE CUT
TO:
A MAN'S EYE
EXTREME CLOSEUP. Open wide. The man's skin wet, speckled
with soil and flecks of blood. His breathing CLOSELY MIKED --
erratic. This man's in shock. The SOUNDS of INSECTS and
ANIMALS other-worldly. A blink.
Then, the REVERSE ANGLE: staring up hundreds of BAMBOO
STALKS. Sunlight almost impenetrable through the dense
forest.
SLIGHTLY WIDER on the Man's face as he stares upward,
disoriented, stunned. 40-years-old. Fit. In normal
circumstances, one glance would make you feel confident in
him. Trusting. But here, now, he's the one in trauma.
His name is JACK.
Then, a RUSTLING SOUND -- something COMING -- it gets LOUDER
and Jack suddenly SNAPS his head to the side to see something
appear through the thick bamboo foliage --
A WHITE LABRADOR.
Collar. Tags. It stops abruptly, twenty feet away from
Jack, looking at him. And for the first time, we PULL BACK
TO A WIDE SHOT of the intense, alien-looking BAMBOO FOREST.
The dog just stares at Jack, who we now see wears a BUSINESS
SUIT and lies on his back, caught in broken bamboo stalks.
And Jack just stares back.
It's an odd tableau -- man and dog looking at each other,
both entirely out of place...
2.
Finally the Lab turns and huffs back into the jungle,
disappearing in the claustrophobic bamboo -- and Jack would
call out "Wait" if he could even think that clearly and he
turns to sit up and it's a PAINFUL MOVE -- he manages to
extricate himself from the plants -- and while still on his
knees, he opens up his suit jacket to check out the source of
his pain. Something on his left side -- but we're so TIGHT
on his face that whatever he sees, we don't. Yet.
His reaction to his wound is more disappointed than
terrified. He manages to get to his feet, feeling something
in his jacket pocket. He reaches in... and pulls out a
MINIATURE BOTTLE OF VODKA.
And we HOLD ON his face as he looks at it... considering...
his heart beginning to POUND, his fear growing, as does a
SOUND -- a FRIGHTENING, ODD SOUND -- something REVVING in the
distance -- SOMETHING LOUD -- and the horror of what he
suddenly understands far outweighs any physical pain. He
moves off --
EXT. BAMBOO FOREST - DAY
Jack moves as fast as he can through the THICK BAMBOO -- and
as he goes there's something that almost beckons to him -- he
hurries through the thick growth, his determined eyes focused
on the thing he approaches -- and as he gets closer to it, we
finally see it:
A WHITE TENNIS SHOE
Laces untied, caught mid-fall in a bamboo tree, hanging by a
branch, twelve feet above ground. He stops for a moment,
looks at it. Again: THE LOUD REVVING -- but it's CLOSER NOW
- and suddenly the most important thing in the world is that
he get there and fast -- so he's moving now, even faster than
before -- through a straight-away miracle path, he's near
SPRINTING now -- BREATHING QUICKLY, ERRATICALLY as he makes
his way --
EXT. BRUSH - DAY
-- and now he's running from bamboo into JUNGLE BRUSH --
thick still, but there's some more sunlight and he's almost
there and finally he bursts out of the brush onto --
EXT. BEACH - DAY
-- and Jack runs up, finally stopping dead in an EXTREME
CLOSEUP. He's bathed in SUNLIGHT now -- squinting at what he
sees -- and we're just on his eyes.
3.
HOLD ON HIM, in shock, until he moves forward -- and IN THE
SAME SHOT, we PAN AS HE MOVES -- 180 DEGREES UNTIL WE'RE
BEHIND HIM, LOOKING OUT ON SOMETHING ABSOLUTELY HORRIFIC.
Only twenty yards away...
A PLANE CRASH ON THE BEACH
777 -- PASSENGER AIRLINER -- 250-Seater -- the MIDDLE SECTION
of the fuselage PLOWED INTO THE SAND -- one WING STICKING
STRAIGHT UP, TOWERING SEVEN STORIES INTO THE SKY, sporadic
SPARKS BURSTING FROM THE INVERTED ENGINE, showering down on
the absolute MAYHEM on the sand -- ANGLE -- and it is like a
fucking WARZONE: scattered FIRES and wreckage -- DOZENS OF
PEOPLE RUNNING ABOUT, some injured, others not -- they're
helping each other, SCREAMING -- their cries drowned out by
the SOUND and WIND caused by the ENORMOUS JET ENGINE -- no,
not the one on the wing pointing upward -- the other one --
the one on the INVERTED WING, now cracked off its brackets
and resting at SAND LEVEL. And the ENGINE STILL REVS --
SPASTICALLY, ERRATICALLY -- SPEWING COOLANT and SPARKS and
SUCKING IN SAND every time it THROTTLES UP -- TIGHT ON JACK
as he takes this in, overwhelmed -- knowing he's part of it --
his eyes WELL UP in fear -- sorrow -- confusion -- and he
turns to look for help -- ANGLE -- but what he sees... is
nothing. His look spans 360 degrees: there's only
spectacular ocean, waves violently CRASHING as far as a half
mile from shore -- a distant coastline -- then MOUNTAINS --
jagged, 2000-foot high peeks -- a deep valley of JUNGLE --
then his eyes are back on the horror of the CRASH -- ANGLE --
where DOZENS OF LIVES are in the balance -- and all at once
he knows that some -- perhaps most -- will die if he doesn't
take action -- and so he does --
EXT. CRASH SITE - DAY
Chaos. Terror. Smoke, fumes, fire -- people desperately
trying to help each other -- running, screaming -- everything
happening at once --
A8
A8 ANGLE
And amid the madness, the JET ENGINE MOMENTARILY REVS DOWN --
enough to HEAR A MAN'S SCREAM -- Jack turns to the source: a
MAN is caught -- STUCK UNDERNEATH two rows of airplane seats -
- ten feet to the side of the malfunctioning engine --
Jack hurries across the insanity toward the man -- flash
passing pieces of conversation as he runs --
KOREAN MAN
(searching for his wife)
-- SUN!!! SUN!!!
4.
MAN #1 WOMAN #2
-- GET AWAY FROM THE GAS!!! -- SHE WAS RIGHT HERE! I
STAY OVER THERE!!! DON'T KNOW!
MAN #2
I NEED SOME HELP! PLEASE--!
B8
B8 ANGLE
-- Jack races past a pretty 20-year-old girl who we HOLD ON
for a moment -- she just stands there, SCREAMING LIKE A
MOTHERFUCKER. We'll meet her later.
ANGLE C8
C8
Jack gets to the man stuck under the seats -- he's too close
to the terrifying, LOUD ENGINE -- which is still so hot that
HEAT RIPPLES can be seen behind Jack -- who sweats now as he
tries to LIFT THE ROW OF SEATS off the man --
With the DEAFENING VOLUME of the jet drowning out any
dialogue, we see Jack YELLING for TWO MEN close by (one of
them is LOCKE, 58, someone else we'll get to know in a bit) --
they run over and help -- and the three STRAIN HARD as they
lift the chair sections off -- Jack then moves to the man --
whose leg BLEEDS SEVERELY.
Jack rips off his tie, immediately goes to business the way
only a man with medical training could: he begins making a
TOURNIQUET, tying the injured man's leg off --
D8
D8 ANGLE
As he ties the leg, Jack looks up to see a whole mess of
simultaneous emergencies -- including a 60-year-old WOMAN in
a PEACH BLOUSE, who lies unconscious with a 30-year-old MAN
desperately trying to revive her --
WHIP PAN
across the beach of debris to a PREGNANT WOMAN, on her knees,
struggling to stand, but with no one to help --
ANGLE E8
E8
Jack then yells to the two Men he's with to take the
Tourniquet Man to safety -- and Jack RUNS -- OVER THE WING,
BEHIND THE MONSTROUS REVVING ENGINE --
over to the Australian Pregnant Woman (CLAIRE) -- he helps
her up -- helps her walk -- but she stumbles again, strains:
5.
CLAIRE
-- I'm having contractions--
Jack helps her lie down--
JACK
-- that's not ideal... how many months
pregnant are you--?
CLAIRE
(crying)
-- almost eight months--
F8
F8 ANGLE
-- and he glances up, checking on the unconscious 60-year-old
Woman in the peach blouse, the 30-year-old Man still trying
to revive her -- though his eyes are there, he asks Claire:
ANGLE G8
G8
JACK CLAIRE
-- how far apart are they--? -- I don't know, a few of 'em
just happened--
AND WE CUT BACK
to the two Men, carrying Tourniquet Man away from --
THE LOUD ENGINE
-- and they're at a safe distance -- that's when ANOTHER MAN,
his back to us -- someone we haven't seen -- runs past us,
just in front of the massive engine -- just as it REVS FULL
BLAST -- AND THE MAN GETS SUCKED INTO THE ENGINE AND JUST AS
HE HITS THE BLADES WE CUT BACK TO:
JACK
With Claire as the engine EXPLODES in the distance behind
them -- camera ROCKED, Claire SCREAMS, Jack COVERS Claire
with his body as debris falls -- LITTERING THE SITE WITH
PIECES OF FIERY DEBRIS.
ANGLE
At least the HORRIBLE ENGINE NOISE IS GONE now -- and with
Jack's horrified face close to Claire's, he forces himself to
appear calm -- to his focus on her:
6.
JACK CLAIRE
-- listen to me-- listen to (suddenly, winces,
me, you're gonna be okay -- scared)
do you understand? But you -- there-- God, that's a big
need to lie absolutely st-- one--
JACK
-- okay --
(looks up, calls out:)
YOU!
The random person who turns is a MAN -- a large guy, more or
less frozen in terror -- this is HURLEY.
JACK (CONT'D)
COME HERE!
HURLEY JACK
-- the-- the plane crashed-- Yeah, I know -- get over
here!
And Hurley does -- in this moment he might just follow anyone
anywhere -- Jack rips off his watch, gives it to him:
JACK (CONT'D) HURLEY
-- I need you to get this -- okay-- okay--
woman away from these fumes! -- you gotta be kidding me --
Take her over there! -- Then
stay with her! Don't let her
move! If her contractions
occur closer than three
minutes apart, call out for
me!
JACK (CONT'D)
(with bedside manner, to Claire)
I'll be back soon.
CLAIRE
-- thank you--
Jack's already up-- Hurley calling out:
HURLEY
-- hey, what's your name?!
And here it is, the first time we've heard it:
JACK
Jack!
And Hurley turns back to Claire, who says, crying:
7.
CLAIRE
-- I'm sorry --
Hurley quickly begins helping Claire up -- and though
terrified, he tries to comfort her --
HURLEY
-- don't be sorry -- this wasn't your
fault--
WITH JACK NOW
-- as he runs to the unconscious 60-year-old Peach Blouse
Woman (ROSE) -- immediately taking over for the 30-year-old,
whose name is BOONE:
JACK BOONE
-- stop -- her head's not
tilted far back enough -- -- are you sure? I'm a
you're blowing air into her lifeguard! I'm licensed!
stomach--
(as he does the work)
-- you seriously need to
think about giving back that
license --
And Jack's performing it now on Rose the way it should be --
breath, breath, pump, pump, pump --
BOONE
That's exactly what I was doing!
ANGLE - HURLEY AND CLAIRE
As Hurley moves with Claire to an area on the other side of
the plane -- Claire lying down again, in pain, on the sand.
ANGLE - JACK AND ROSE
As he keeps trying CPR on her -- Boone watching --
BOONE JACK
-- hey man, she's still not (just get the fuck outta
breathing! here)
(then) -- yeah, good idea -- you go
Maybe we need to do one of get me a pen!
those hole things -- where
you stick a pen in her
throat?
8.
And Boone hurries off -- Jack, just relieved to be rid of
him, goes back to Rose -- trying to bring her back -- when
suddenly: WREEEEEEEEEEORRRRRR!!! -- a LOUD METALLIC WHINE
which makes Jack TURN AROUND to look --
Dear God, it's --
THE FUCKING WING
-- THE 75-FOOT WING POINTING TOWARD GOD -- IT'S ACTUALLY
BENDING AT THE FUSELAGE WHERE IT'S CRACKED -- IT'S STOPPED
FOR THE MOMENT, BUT IT'S CLEAR: THIS THING IS MOMENTS AWAY
FROM CRASHING DOWN UPON THE SAND -- WHIP PAN down to the sand
-- WHERE HURLEY AND CLAIRE REST ON THE SAND, oblivious -- and
in the direct path of the enormous metallic WING FULL OF FUEL
-- HORRIFIED --
JACK WORKS ON THE WOMAN FASTER NOW
JACK
-- come on! Come on!
AND THE WING BENDS AGAIN --
about to go -- a SHOT FROM ABOVE THE WING -- FUEL SPRAYING
FROM IT --
JACK KEEPS PUMPING -- PUMPING --
Suddenly ROSE GASPS FOR BREATH -- horrified, disoriented, but
ALIVE --
ANGLE
Seeing this, Jack's already RUNNING NOW as the WING BENDS
AGAIN -- CRACKS MORE -- and as Jack runs he yells out:
JACK
MOVE! MOVE!
Hurley turns -- sees Jack approach -- Hurley's confused:
HURLEY
You -- you said don't move!
JACK
GO, GET HER UP!!! NOW!!!
HURLEY TURNS -- SEES THE WING -- WEEEEEEEEEEEEORRRRRRR!!!
9.
HURLEY SCREAMS AS THE WING STARTS TO GO -- a LONG LENS SHOT
as JACK ARRIVES -- GRABS THEM, PULLS THEM TO THEIR FEET AND
RUSHES THEM AWAY AS THE WING FALLS RIGHT BEHIND THEM LIKE A
TIPPING REDWOOD TREE --
-- AND THE WING SMASHES TO THE GROUND
LANDING ON pieces of FIERY ENGINE DEBRIS and KA-BOOOOOOOM!!!
THE WING EXPLODES -- AN ENORMOUS BLAST -- pieces of FIERY
METAL RAIN EVERYWHERE --
JACK
instinctively protecting Claire, SCARED BUT DETERMINED --
JACK (CONT'D)
-- you okay?
She nods -- fast --
JACK (CONT'D)
(to Hurley)
Stay with her.
HURLEY
(out of breath)
Dude, I'm not goin' anywhere.
Jack gets up and moves off --
EXT. CRASH SITE - DAY
Now we're LONG LENS as Jack walks through the wreckage scene
-- amid smoldering piles of debris, and People helping each
other. Things seem to finally be calming down.
JACK SCANS THE AREA
looking to make sure there's nothing that needs an urgent
response. He finds one MAN, 45 in a suit, who lies on the
ground, unconscious. BLEEDING BADLY from the head. Jack
pulls open the Man's jacket -- TO REVEAL A PIECE OF METAL
SHRAPNEL STUCK INTO HIS STOMACH.
Seeing this, Jack's eyes go flush with concern. He checks
SHRAPNEL MAN's pulse -- pulls open his eyelids. Jack
delicately removes the man's jacket, drapes it over him,
forming a makeshift BLANKET. Jack turns to the ripped-open
end of the fuselage -- where first class and the cockpit
would normally be --
10.
INT. FUSELAGE - DAY
INSIDE the fuselage, looking out, the tumultuous OCEAN framed
by this giant shattered aluminum tube. It's a disorienting
shot, since the plane is BANKED ON ITS SIDE. At this angle,
SEATS are on a SIDE WALL, the wreckage-strewn floor actually
a long row of windows.
And Jack appears, looking into the fuselage -- and we PUSH IN
ON HIM. What Jack sees -- despite his ER training -- sickens
him. Then Boone arrives, urgent, holding a HANDFUL OF PENS.
BOONE
-- I didn't know which one would work
best.
For a long beat, Jack's eyes don't leave the fuselage.
Finally he looks at Boone. And the pens. And tears well in
Jack's eyes -- the whole experience finally catching up to
him. Jack takes all of the pens, saying, softly,
emotionally, kindly:
JACK
... they're all good. Thanks...
And Jack walks off, past Boone, who turns, watching Jack go.
EXT. BEACH - DAY
A fifty-yard distance from the wreckage, a fellow survivor
stands here, staring almost angrily at the wrecked plane.
He's 35, handsome, with a cocky, self-centered vibe. And he's
smoking. Meet SAWYER.
A few others recover about here -- including another Man, who
approaches. 25. English rocker. Self-deprecating --
somewhere between an adult and a child. This is CHARLIE.
These two have never spoken.
CHARLIE SAWYER
-- you, uh... s'cuse me, ya -- you sure you want me to
sure you should be smoking--? shove my foot up your ass?
A beat.
CHARLIE
Okay. Excellent, just... thought I'd
raise it.
Charlie walks off. A beat later, he returns --
CHARLIE (CONT'D)
-- mind if I... bum one then? Thanks...
11.
Charlie takes a cig from tough Sawyer, then walks off.
EXT. CRASH SITE - DAY
MUSIC: Synthesizer DRONE. A surreal post-disaster moment.
LONG LENS SHOT as Jack, for the first time appearing
vulnerable -- perhaps even weak -- near the jet's open CARGO
DOOR. He rummages through a stranger's SUITCASE... other
bags he's already searched beside it. As he ZIPS open
someone's TOILETRY BAG --
EXT. BEACH WOODS - DAY
A cluster of trees off the beach. The SHATTERED JET barely
visible in the distance. Jack walks in here, getting away
from the others.
TIGHT SHOTS as he sets down, on a large rock, a TRAVEL SEWING
KIT. A LIGHTER. A T-shirt.
And in some pain, Jack pulls off his jacket -- revealing an
enormous BLOOD STAIN and RIP on the side of his shirt. He
carefully removes his shirt. Looks down at the LARGE SLASH --
A DEEP SIX INCH CUT STARTING ON HIS LEFT SIDE AND RUNNING TO
HIS BACK.
Christ, he did all that with this crash wound.
He twists, trying to figure out how best to sew himself up.
He angles around -- can't find a good way to approach this.
And we watch him for a long beat, feeling for Jack as he
tries to solve this painful puzzle. Frustrated but needing
help, Jack looks around -- we pop to a TIGHT SHOT as he sees
something off-camera. Something that makes him stop...
... and we see his point of view: walking, slowly, seemingly
aimless through the brush, is a WOMAN. She's thirty feet
away, her back to us. Jack watches her for a moment. Then
he calls out:
JACK
Excuse me!
And this woman turns. Her face pale, ghostly. Wracked in
stress. Eyes wet. This is KATE. Pretty, 26 years-old.
Smart. Trustworthy. And, in all the important ways,
entirely untested.
JACK (CONT'D)
D'y'ever use a needle?
And Kate just stares at him for a moment, disoriented.
12.
KATE
... d-- what?
JACK
Have you ever patched up a pair of jeans?
KATE
(beat, about to cry)
... I... I made the drapes in my
apartment--?
JACK
That's fantastic -- d'you have a second?
I need a little help.
Kate takes a post-traumatic-stress-disorder beat, then moves
forward, through the trees. She arrives at Jack.
KATE
... help with what?
And Jack turns, SHOWING HER THE WOUND.
JACK
This.
And her eyes just close.
JACK (CONT'D)
I'd do it myself-- I'm a doctor -- but I
just can't reach it.
KATE
(eyes closed)
You want me to sew that up.
JACK KATE
It's just like drapes, same -- no, I used a sewing
thing-- machine on the drapes--
JACK
You can do this, I'm telling you. If you
wouldn't mind.
A beat. Finally Kate snaps into agreement: she'll do it.
JACK (CONT'D)
-- thank you --
And Jack pulls from his pocket the mini bottle of VODKA.
Holds it out to her, as if offering a drink. Odd. Then:
13.
JACK (CONT'D)
It's for your hands.
Understanding now, she takes the vodka, cleans her hands with
it.
JACK (CONT'D)
Save some for me.
(off her look; smiles)
The wound.
She nods, gives back the half empty bottle as he gives her
the needle and thread:
JACK (CONT'D)
You're gonna have to sterilize the
needle.
She takes the stuff, using the lighter to heat the needle.
Jack sits on the rock, sucks in a sharp intake of breath as
he pours the remaining vodka over his wound -- it fucking
STINGS --
Kate's finished with the needle -- considers the SIX COLORS
OF THREAD in the travel sewing kit.
KATE
Any, uh... color preference?
Jack looks at her -- there it was, the first flash of her
personality.
JACK
Standard black.
Kate nods, trying to stay cool, pulling out a length of black
thread and threads the needle. Kate then kneels beside him --
and after a beat she starts to sew his skin. Then:
KATE
So I might throw up on you.
JACK
(it hurts, but:)
You're doing fine.
He watches her, this pretty young woman he doesn't know,
stitching him back together again, trying to keep her
composure. CLOSE ON her hands. No jewelry, no watch.
JACK (CONT'D)
You live in New York?
14.
God, she just wants to lose it. But she doesn't.
KATE
... I used to. I've been in New Zealand.
About a year.
JACK
... how come?
KATE
Oh, I just... had to get away.
JACK
(... beat)
So what were you doing in New Zealand?
KATE
Everything. Feels like.
JACK
Like what-- I'll appreciate any
distraction.
KATE
I was, uh... mixing paint for a while.
At a hardware store. I worked for a
veterinarian, in Lumsden.
JACK
Lumsden.
KATE
M-hm. I was an au pair for a few months.
I worked on a farm--
-- and suddenly Kate is crying. It just caught up to her,
that's all. And she weeps, resting her head on the back of
her hand. Jack suddenly feels guilty, watching this kind
stranger weep. So he speaks, quietly, sweetly:
JACK KATE
... hey... hey, listen, I can -- no. No, I'm okay.
get someone else to do this--
And Kate gathers her strength -- shows a small sign that
she's not someone to give up. She SNIFFLES, gathers herself.
Knows she must. She continues sewing.
KATE (CONT'D)
You don't seem afraid at all. I don't
understand that.
15.
JACK
Fear's sort of an odd thing. It's like
an in-law who just drops in. You don't
like it, but you can't just get rid of
it. It's a struggle. But you have to
learn to deal with it or it'll make you
insane.
KATE
I haven't had much success with fear.
Sensing she needs some help as she works on him, Jack offers:
JACK
When I was in residency, my first solo
procedure was a spinal surgery on a
sixteen year-old kid. Girl.
(beat)
At the end of it -- thirteen hours later -
I was closing her up... and I... I
accidentally ripped her dural sack -- you
know what that is?
Kate has stopped sewing, now staring at him.
JACK (CONT'D)
It's at the base of the spine, where all
the nerves come together. Membrane as
thin as tissue. So it ripped open -- the
nerves just spilled out like angel hair
pasta-- her spinal fluid flowing out and
I just... froze. 'Cause I knew. If I
didn't get those nerves back in that sack
and sew it up... those thirteen hours
were for nothing, that girl would be
paralyzed. I had about a minute.
(beat)
And all the assistants were just watching
me, I could feel their eyes. And the
terror was so... crazy, so real... and I
knew I had to deal with it. So I just
made a choice. I'd let the fear in. Let
it take over. Let it do its thing.
(looks at Kate)
But only for five seconds. That's all I
was gonna give it. So I started to count
to five. I could feel it inside -- like
when you drink a milkshake on a hot day.
(beat)
One, two, three, four, five.
(beat)
And it was gone. I got back to work.
Sewed her up. She was fine.
16.
Kate breathes again, returns to stitching him.
JACK (CONT'D)
I think everyone has something like that.
A moment where you establish your
relationship with fear. And either you
learn to deal with it... or you don't.
From Kate, a little, sad laugh:
KATE
If that had been me... I think I would've
run for the closest door.
JACK
No, I don't think that's true.
(then)
You're not running now.
And Kate stops -- looks up at him. Her eyes clearly saying,
"Oh yes I am."
EXT. CRASH SITE - DUSK
The sun drops below the horizon. The sky turning a
miraculous purple-red.
Claire watches the sunset.
At another part of the beach, Locke watches the sunset.
OMITTED
ANGLE - THE LARGE BONFIRE - DUSK
A MAN WANDERS into frame. Stops. Checks his CELL PHONE.
Holds it in the air. Takes another few steps. Checks it
again. This ritual has been going on for awhile.
CAMERA PULLS BACK past a 40 year-old Middle Eastern man,
SAYID, along with Boone (the former lifeguard) and a few
others, throw PALM FRONDS to make it even bigger. Sayid
turns -- sees Charlie (our English rocker), sitting alone,
clutching his legs, looking like he's got the chills.
SAYID
You! What's your name?
Charlie's head snaps to Sayid:
CHARLIE
-- what-- sorry-- Charlie.
17.
SAYID
Charlie, we need some help with the fire!
No one will see it if it isn't big!
CHARLIE
(getting up, helping)
-- right! I'm on it! What's your name?
SAYID CHARLIE
Sayid. -- Sayid! I am on it, Sayid!
TRACK CHARLIE as he goes for more fronds -- CAMERA STOPPING
ON ROSE, the woman Jack resuscitated, who sits on the sand
near the fire, a blanket wrapped around her. Lit by the
fire, she's taking a man's WEDDING BAND and stringing it into
her necklace, turning the ring into a pendant.
FIVE BONFIRES - NIGHT
Spread out across the beach, groups of EIGHT to TWELVE
SURVIVORS huddle around them. And we get a sense now of how
many have survived: forty-seven people. One of the fires is
particularly big --
ANGLE - A KOREAN COUPLE
30's. Her name is SUN, his is JIN. Both scratched up,
neither seriously wounded. She sits, he kneels before her,
holding her face in his hands. Talks to her IN KOREAN, deeply
caring. She's just nodding, agreeing with whatever it is he
asks. Those who speak Korean understand:
JIN
(in KOREAN)
I want you to stay in my sight at all
times. If I walk away, you follow. We
need to stay together, do you understand
me? We cannot be apart.
-- and as he continues, Hurley CROSSES FRAME -- we FOLLOW HIM
NOW. He carries two dozen THAWED-OUT AIRPLANE MEALS. He
arrives at:
CLAIRE
The pregnant woman, who sits in a
disembodied Business Class chair on the
beach. She rests comfortably.
Relatively speaking, she's doing fine.
Hurley offers her a meal:
HURLEY
Hungry?
18.
CLAIRE
(sweetly, taking it)
-- yeah. Thank you.
HURLEY
(re: contractions)
Any more, uh... you know, baby stuff?
CLAIRE
No. No... I'm all right.
Hurley's glad. Hands her some plastic silverware:
HURLEY
Hang in there.
CLAIRE
Yeah. You too.
Hurley nods confidently and walks off.
EXT. BEACH - NIGHT
SHANNON (the 20 year-old girl who was just screaming her ass
off before) sits on the beach beside a small FIRE, painting
her toenails, of all things. She's composed now, but still
coming down from the experience.
After a beat, Boone sits closely beside her on the sand,
facing her. Watches her paint her toenails. There's
something clear here: there's enormous animosity between
them. Regardless, he offers her a chocolate bar.
SHANNON
As if I'm gonna start eating chocolate.
He wants to kill her.
BOONE
How are your toenails coming.
SHANNON
They're fine, thanks.
A beat. Boone stares at her.
BOONE
Shannon, we might be here a while.
SHANNON
I can go a day without eating if I have
to.
19.
BOONE
We might be here longer than a day.
20.
SHANNON
The plane had a black box, idiot. They
know exactly where we are, they're
coming.
(beat, then:)
Lemme guess. You don't think they are.
BOONE
No, I'm pretty sure they're not.
SHANNON
Why.
BOONE
Because you're so sure they are.
SHANNON
You're such an ass.
BOONE
While that may be true, I am still -- I
swear to God for reasons I will never
understand -- concerned about your
survival.
And he offers the candy bar again. Shannon just looks at him.
All resentment. And while she's hungry, she says:
SHANNON
I'll eat on the rescue boat.
She goes back to her nails. Boone knows that's a pipe dream.
Resenting her in equal measure, he rips open the bar and
starts eating.
EXT. SHORE - NIGHT
Locke, the man Jack recruited to help save Shrapnel Man, sits
on a piece of curved jet wreckage, which almost looks like a
modernist sculpture. Locke just stares out at the crashing
water. Eyes fixed on the nothingness out there. Hurley
approaches.
HURLEY
We got chicken or lasagna.
A long beat. Locke doesn't move. Finally:
HURLEY (CONT'D)
They're not cooked, but they can't be
worse cold than they were heated.
Locke doesn't look away from the night sea. A beat.
21.
HURLEY (CONT'D)
Hello?
But Locke still doesn't respond.
HURLEY (CONT'D)
Okay, you too.
And Hurley just walks off.
EXT. BEACH - NIGHT
RIIIIIP: Jack rips open Shrapnel Man's shirt. The metal piece
still embedded in this breathing-but-unconscious man's belly.
It's a dirty, bloody mess. Jack kneels over him, checking the
wound. Kate sits close, watching intently. BONFIRES in the
background.
KATE
-- why aren't you removing that?
JACK
Because it could be holding his stomach
together. Pulling this out could cause
more damage than leaving it until help
comes.
(then)
His head wound's bad too.
KATE
... is he gonna live?
JACK
I could tell you a lot more if there was
a CAT scan around.
Kate can't take her eyes off the Man. Jack turns to her and
sees this. Realizes there's a connection between them:
JACK (CONT'D)
... do you know him?
KATE
(beat, staring)
... he was sitting next to me.
And Jack feels for her. Wishes he could fix all of this.
But he can't.
22.
EXT. BEACH - NIGHT
Now we FAVOR a nine year-old boy -- WALT -- who lies here, on
his side, covered in layers of clothing to keep him warm. His
eyes are open, staring off. His father, MICHAEL, 32, lies
beside him.
MICHAEL
Hey. Walt. Sure you're warm enough?
WALT
(a whisper)
... yeah.
Michael wants to make it better for his son -- somehow -- but
he can't think of one thing to do or say. Finally:
MICHAEL
Love you.
And we just hold. Walt not saying a thing.
EXT. NIGHT SKY - NIGHT
Imagine the most spectacular view of the stars visible from
Earth.
JACK (O.S.)
We must've been close to 40,000 feet when
it happened.
Then a crude MODEL OF A PLANE appears -- maybe eight inches
long, CUT out of that BANANA LEAF, and held by Jack's HAND.
JACK (O.S.) (CONT'D)
When we hit a pocket of dead air.
Now we see that we are:
EXT. BEACH - NIGHT
Bonfires and other survivors in the distance. Jack and Kate
are together here, using a piece of wreckage as a table. Jack
holds the model plane, re-enacting the re-crash moments,
trying to make sense of it all. Kate's hands are clasped at
her mouth as she watches, closely, intensely.
JACK
We dropped. Must've been two-hundred
feet. The turbulence that followed... by
far the worst I've ever been through...
but turbulence doesn't bring down planes.
(beat)
(MOR E)
23.
JAC K (CONT'D)
Electrical power came in and out. Sounded
like the hydraulics went out. It was
pretty clear what was happening.
(beat)
How long would you say that lasted?
KATE
... five minutes?
JACK
Yeah, that's what I was thinking...
(beat)
There was too much stress on the
structure of the plane.
(beat)
That's when the tail broke away.
And Jack snaps off the tail -- he now, slowly, turns the
fuselage, rolling it -- and you can imagine how terrifying
this actually was -- as he does this, Kate watches the model,
tears in her eyes.
JACK (CONT'D)
-- we were out of control. We actually
went up for a while. Then dropping...
flipping...
(then, it occurs to him)
What row where you in?
KATE
... 25.
JACK
(then)
... I blacked out.
And God, this is the worst memory of all time. Still, Kate
fights for her composure as she says:
KATE
(unfortunately)
I didn't.
(beat, with dread)
I saw the whole thing. We were falling...
I knew the tail was gone. I couldn't make
myself look back.
(then)
Then the... the front section came apart.
Jack rips off the nose section -- slowly cartwheeling the
leaf model...
24.
JACK
-- did it hit something?
KATE
It might have.
(beat, wipes away a tear)
We crashed maybe five seconds later.
And Jack lets the model come down -- in a position resembling
what we saw at the opening. The ANGLE IS LOW NOW -- MACRO --
it looks like the opening in model form. Jack considers this.
Sort of studies the image, trying to figure it out.
JACK
The front end of the fuselage isn't on
the beach. Neither's the tail. I woke up
about five hundred yards away from the
beach... must've fallen out while the
fuselage was cartwheeling...
(realizes his own amazing luck;
then)
We need to figure out which way we came
in.
KATE
Why.
JACK
Because there's a chance we could find
the cockpit. If it's still intact, there
could be a transceiver. That would let us
send a signal, help a rescue party find
us.
KATE
(a little bit of awe)
How do you know all that?
JACK
I took a couple of flying lessons.
(forces a smile)
Wasn't for me.
KATE
I saw some smoke. From the beach -- about
a mile inland.
(pointing)
-- through the valley. From the jungle,
there.
JACK
-- where?
25.
His eyes on the blackness of the night. As he stares, in his
gut knowing it's the cockpit, Kate says:
KATE
If you're going for the cockpit, I'm
going with you.
(determined)
We'll leave as soon as it's light.
Jack can't help but delight in this resolute young woman.
JACK
I don't know your name.
KATE
I'm Kate.
JACK
Jack.
(smiles)
So what were you doing in Sydney?
Now that the topic of conversation has shifted, Kate stiffens
momentarily. Then --
KATE
I was just flying through. I've been in
New Zealand.
JACK
Yeah? Doing what?
KATE
Everything. Feels like.
(off Jack's curiosity)
I was, uh... mixing paint for a while. At
a hardware store. I worked for a
veterinarian, in Lumsden.
JACK
Lumsden.
KATE
(enough about me, pal)
So what's up with the tattoos, Jack? You
one of those really hardcore spinal
surgeons or what?
Now it's JACK's turn to stiffen. But before he can answer --
MWOOOOOOOOOOOOOO RRRRRRRRRRRRRRRRRRRRR! Jack and Kate turn --
listening to --
26.
A SOUND.
FUCKING INDESCRIBABLE -- UNLIKE ANYTHING WE'VE EVER HEARD
BEFORE -- TERRIFYINGLY PRIMITIVE -- PROFOUNDLY DISTURBING.
OTHER SURVIVORS
Turn in the distance, looking, scared as
Kate enters frame in FOREGROUND -- in
EXTREME CLOSEUP --
KATE
(at a whisper)
... what was that...?
And Jack walks up behind her, looking out -- with no answer --
OMITTED
ANGLE - LOCKE
PUSH IN ON HIM as he turns back toward the jungle -- seated,
as he has been for hours, staring out to sea. Locke doesn't
seem scared as much as accepting of whatever challenge this
is. This guy's somehow accepted his mortality in a way that
can only, inevitably, be frightening.
ANGLE - WALT AND MICHAEL
The boy's sitting up -- eagerly reacting to the sound --
somehow HOPEFUL -- Michael seen behind him, concerned -- both
looking toward the distant jungle --
WALT
-- I think that's Vincent --
MICHAEL
(beat, afraid)
-- that's not Vincent --
ANGLE - CLAIRE
Mid-way through her meal, Claire is turned, eyes on the
distant jungle valley --
CLAIRE
-- did anyone hear that sound--?
DOLLY to find Hurley, getting to his feet and moving forward.
HURLEY
... I think, uh... unfortunately all of
us did.
27.
Suddenly -- THE SOUND AGAIN -- and -- WORSE -- Hurley TURNS
toward the source of the SOUND --
ANGLE - TREES
Distant 50-foot tall TREES SWAY -- hundreds of yards away --
PAN to Jack and Kate -- who step forward -- moving closer to
the scary SOUND --
ANGLE - SHANNON AND BOONE
Sitting, but already alert --
SHANNON
-- okay... this isn't funny--
Boone gets up -- moves to get closer to maybe see something --
Shannon is on her feet, pissed --
SHANNON (CONT'D)
-- Boone -- wait--!
ANGLE - SAYID AND CHARLIE
-- and the Others at the bonfire -- start to move toward the
noise --
ANGLE - THE GROUP
And all of the characters we've met so far gather on the
beach -- in a sort of tiered way -- Jack and Kate near the
front. There's a long silence, all of them watching... afraid
-- then, suddenly, GASPS as all their heads simultaneously
TURN to --
ANOTHER PART OF THE JUNGLE --
where a SERIES OF DISTANT TREES SWAY as if something SCARY
BIG is moving -- A FEW ACRES IN SECONDS -- this huge THING --
whatever the hell it is -- seems to be disappearing into the
jungle --
-- AN WE HOLD ON OUR TERRIFIED MAIN CHARACTERS
for a long beat... until finally...
CHARLIE
Terrific.
CUT TO BLACK.
END ACT ONE
28.
ACT TWO
FADE IN:
THOUSANDS OF FEET ABOVE PURE TURQUOISE OCEAN, STRETCHING FOR
MILES AND MILES AND MILES -- MOVING OVER AN ENDLESS EXPANSE
OF BLUE.
And we begin to PULL BACK TO REVEAL:
INT. PLANE - FLYING - DAY
This was Jack's POV -- as he still stares out the window,
contemplating something pretty heavy. Then:
FLIGHT ATTENDANT #1
... how's the drink?
Jack turns -- looking up at the pretty, Australian FLIGHT
ATTENDANT.
JACK
(bad)
It's good.
FLIGHT ATTENDANT #1
That wasn't a very strong reaction.
JACK
It's not a very strong drink.
So she slips a couple MINI-BOTTLES of VODKA from her cart to
Jack.
FLIGHT ATTENDANT #1
(quiet, playful)
Shh.
JACK
(leans in, sotto,
conspiratorial)
This of course breaks some critical FAA
regulations --
FLIGHT ATTENDANT #1
I saw you when you got on. Giving your
first class ticket to that older lady.
JACK
Oh, I wasn't being sweet. She guilted me
into it. She's like six-hundred years old
and says she's never flown before.
(MOR E)
29.
JAC K (CONT'D)
(gimme a break)
Come on.
FLIGHT ATTENDANT #1
You think it's all an act?
JACK
I'm pretty sure.
Smiling, she walks off, toward the rear of the plane -- where
she has words with another Passenger a few rows back. Jack is
smiling too, hoping she'll be back again soon. Pleased, Jack
twists open one of the bottles, empties it into his DRINK.
DOWNS the whole thing.
He puts the other mini-bottle into his jacket pocket.
Unbuckles his seatbelt, gets out of his seat just as CHARLIE
quickly pushes past, heading toward the front of the plane at
a swift clip -- a man on a mission --
CHARLIE
Sorry...
ROSE
Guess he really had to go.
Jack smiles at ROSE seated across the row from him. Of course
he has no idea that he will, in short order, save this
woman's life.
Suddenly: light TURBULENCE. Just a little. No big deal. DING -
- "FASTEN SEATBELTS" LIGHTS UP. Jack becomes visibly tense,
does his best not to let it show --
FLIGHT ATTENDANT'S VOICE
Ladies and gentleman, the pilot has turned on the fasten
seatbelts sign -- please return to your seats with your
seatbelts fastened...
Jack glances at Rose, nervously clutching her armrest.
JACK
It's normal.
ROSE
(grateful)
... oh, I know.
(then)
I've just never been a good flier. My
husband always reminds me that planes
want to be in the air.
30.
JACK
Well he sounds like a smart man.
ROSE
(smiles)
You be sure and tell him that when he
gets back from the bathroom.
The plane SHAKES again. Jack smiles at Rose... and we almost
get the sense it's easier for him to focus on her fear than
deal with his own --
JACK
I'll keep you company 'til he does.
(clicks seatbelt)
Don't worry, it'll be over in a --
AND THE PLANE DROPS TWO HUNDRED FEET IN TWO SECONDS --
SCREAMS, ENGINE WHINES AND THREE PEOPLE AND EVERY LOOSE
OBJECT SLAM TO THE CEILING -- JACK GRIPS THE ARMRESTS AS THE
PLANE SHUDDERS VIOLENTLY AND WE SMASH CUT TO --
EXT. BEACH - DAWN
CRASHING WAVES and we're TIGHT ON JACK, his eyes focused out
across the water as the SUN RISES. Remembering the horror as
the SUN RISES. It's an unadulterated moment of PURE ISLAND
BEAUTY -- and Jack, now in a clean white T-shirt, takes it
in.
We're DOLLYING, Jack in FOREGROUND CLOSEUP, as behind him the
Survivors are mostly grouped together now -- nobody slept --
they're all wired, SCARED -- and Walt stands among them,
looking up at this strange collection of adults, all talking
over each other about that "THING" from the night before --
MICHAEL
It wasn't natural, whatever it was...
ROSE
-- that sound it made -- I keep thinking,
there was something familiar about it.
SHANNON
Really? Where are you from?
ROSE
The Bronx.
CHARLIE
It could've been something like monkeys.
31.
SAWYER
Yeah, I'm sure it was monkeys. It's
Monkey Island.
HURLEY
Technically, you know, we don't even know
if we're on an island --
SAYID
(if he knows anything)
We're on an island.
This is all just buzz to Jack -- the same conversation has
been going all night. He's still in his own head space as
Kate arrives, close -- almost conspiratorial:
KATE
You ready?
Jack turns to see Kate. She's tired, scared, but determined.
JACK
Kate, you showed me where the smoke was.
I can get there myself--
KATE
I'm coming with you.
JACK
I want you to stay here.
KATE
-- no.
JACK
We don't know what the terrain's gonna
be. You're safer if you--
KATE
I can't prove to you that I'm up for it.
All I can say is my gym had a rock
climbing wall -- and yeah, I realize how
pathetic that sounds.
(then, firm but simple)
I'm going with you.
Jack won't argue. Truth is, he wants the company. Then:
JACK
You're gonna need better shoes.
32.
ANGLE - KATE
Near the crash, she's doing the bleak work of pulling boots
off a DEAD BODY. She puts them on. They fit. A severe but
necessary move. And she looks up -- far across the beach,
LOCKE is watching her. A somewhat intense gaze. And Kate
thinks for a moment, "Did Locke know the woman whose shoes
I'm now wearing?" But in the middle of that question, Locke
SMILES -- AND REVEALS AN ORANGE PEEL COVERING HIS TEETH.
Somehow, this moment just gives Kate the chills. And Locke
turns away from her, continuing to PEEL THE ORANGE that he's
eating.
ANGLE - 15 SURVIVORS
Sitting together. Among them are Boone and Shannon, Sayid,
Charlie, Michael and Walt.
CHARLIE
-- anyone have any sunscreen?
SHANNON
(going for her backpack)
Yeah, I do.
HURLEY
So I was just looking inside the
fuselage. It's pretty grim in there. You
think we should be doing anything about
the, uh...
(uncomfortable with Walt)
... "B-O-D-Y-S"?
No one gets his spelling.
MICHAEL
What are you spelling, man, "Bodies"?
WALT
B-O-D-I-E-S.
SHANNON
(hands Charlie sunblock)
They'll deal with 'em. When they get
here.
CHARLIE
(re: sunblock)
SPF 2? Do they even make this?
33.
SHANNON
Fine.
She grabs it back as Jack arrives:
JACK
I'm going to look for the cockpit. See if
we can find a transceiver to send out a
distress signal. Help out the rescue
team.
(they're surprised, he addresses
Boone)
You're gonna need to keep an eye on the
wounded. If that guy in the suit wakes
up, try to keep him calm -- don't let him
remove that piece of shrapnel. You
understand?
BOONE
What about the guy with the leg? Your
tourniquet --
JACK
Stopped the bleeding. I took it off last
night. He'll be all right.
BOONE
-- yeah, okay. Cool -- uh, good job.
CHARLIE
(moves to them)
-- hey, I'm coming with-- I wanna help--
JACK
-- I don't need anymore help--
CHARLIE
No, I wanna go, I'm not too keen on
keeping still--
And Sawyer enters the group now:
SAWYER
Yeah, this is genius. Going into the
jungle? After that sound last night? The
thing that moved those trees? Yeah, this
is a great idea.
And Kate arrives --
KATE
(re: sawyer)
-- what's going on?
34.
JACK
-- nothing--
SAWYER
When they show up to rescue us while
you're gone? We're not waiting around.
JACK
(to Kate)
Let's go.
CHARLIE
-- oh, she's coming too? Excellent.
And Charlie actually goes first. Jack and Kate share a look -
and the two head off after him.
EXT. JUNGLE - THE HIKE - MORNING - LATER
Jack cuts a SWATH through the jungle with a large STICK,
forging a path of sorts. A man of few words, he's about ten
yards ahead of --
KATE and CHARLIE. Walking in silence for a beat. Then:
KATE
You mind if I ask you something?
CHARLIE
Me? No, I'd be thrilled -- I've been
waiting.
KATE
Have we ever met anywhere?
CHARLIE
Nah. That would be unlikely.
KATE
Hm.
They keep walking.
CHARLIE
I look familiar though.
KATE
Yeah.
CHARLIE
You can't quite place it.
35.
KATE
No, I can't.
CHARLIE
Yeah. Yeah, I think I know.
KATE
... you do?
Then Charlie does something surprising. He starts singing.
CHARLIE
"Till the ennnnnd of time! You know you
thought you would be caught -- Till the
ennnnd of time...!"
As he walks, Charlie looks back at her, somehow impressed by
himself. Kate has no idea what that meant. Jack watches
Charlie like he's nuts.
CHARLIE (CONT'D)
(almost insulted)
You still don't get it? You never heard
that song?
KATE
-- of course I've heard it, I just don't
know what the hell that has to--
CHARLIE (CONT'D)
-- well that's why I'm-- that's us! Drive
Shaft!
KATE
-- what?
CHARLIE
God -- have you never heard of bloody
Drive Shaft?
KATE
The band?
-- you were in Drive Shaft?
Are you kidding me?
-- my friend Beth would freak out, she
loved you--
CHARLIE
Yes, the band!
36.
-- Not was, I'm in it! Right now, we're still together, I'm
the bassist!
-- kidding? No! I'm fantastic! With a bass.
Gimme Beth's number, I'll call her.
KATE
(to Jack)
You know Drive Shaft?
And Jack shakes his head, a grateful "no"...
KATE (CONT'D)
They were good.
CHARLIE
-- you don't have to keep using the past
tense, you know. We're still together.
(as they hike...)
In fact, I'm supposed to be in the middle
of a comeback. So...
And they continue, into the jungle... and now we're on a WIDE
SHOT of the three of them on their trek -- and we begin to
BOOM DOWN and realize... it's actually a POV:
REVERSE ANGLE
Through the overgrown bushes --
something's watching them. It's the WHITE
LAB from the opening...
EXT. JUNGLE - DAY
TIGHTER as they enter another area of jungle. And suddenly...
THE SKY DARKENS. Day to GRAY in seconds -- Charlie, looks up
at the sky -- WIND picks up. ELECTRICITY crackles in the air -
- the three stop.
CHARLIE
This-- is this normal...?
SUDDENLY IT'S POURING. SHEETS OF RAIN. FUCKING TORRENTIAL.
Jack, Kate, Charlie -- all SOAKED instantly -- and they pick
up their pace, hurrying off as we CUT TO:
EXT. "BASE CAMP" - CRASH SITE - RAINSTORM - DAY
The rain pouring down -- VARIOUS SHOTS of the Survivors
scrambling.
37.
The Korean couple (SUN and JIN) huddle with half a dozen
other survivors under a piece of FUSELAGE DEBRIS -- when
another Survivor runs over, Jin YELLS at them in Korean over
the DIN of the rain, pointing:
JIN
(in KOREAN)
There's no more room here! Over there!
There's room over there!
And that Survivor is turned away, running past Michael, who
covers his son Walt with a too-large raincoat.
Shannon and Boone head toward the wrecked plane -- stopped by
Hurley, who yells to them over the NOISE:
HURLEY
I'm telling you, you don't wanna go in
there! Too many bodies!
So Shannon and Boone head for shelter of some nearby trees.
And Locke -- odd Locke -- who sits near the shore, eyes
closed, head back. Letting the rain fall onto his face.
Washing clean all that's come before...
And there's Sayid, being smart: he sets up a TARP he's found
in cargo -- using aluminum sticks of wreckage as supports.
And as soon as it's up, Sawyer enters --
SAYID
I need to put up the other side!
SAWYER
(don't tell me what to do)
Yeah, I'm all right in here, Osama.
TIGHT on Sayid as he turns to Sawyer. Fury in his eyes.
SAYID
... what did you call me?
EXT. JUNGLE - VALLEY OF TREES - RAINSTORM - DAY
-- AND DISTANT TREES SWAY again -- as if the thing is heading
into the deep valley -- MOVING -- and we PAN FAST -- we're
UNDER DEBRIS SHELTER -- TIGHT ON CLAIRE'S FACE as she says --
CLAIRE
-- look-- oh God, look, out there --
-- we then CONTINUE THE PAN to ROSE, the rainy beach and
ocean in the background. And we PUSH IN on Rose, who says:
38.
ROSE
... that's the way the doctor went...
And the SOUND OF RAIN BUILDS AND WE...
CUT TO BLACK.
END ACT TWO
ACT THREE
FADE IN:
EXT. JUNGLE - RAINSTORM - DAY
As the rain POUNDS, we find Jack, Kate and Charlie,
continuing their hike. They finally stop. Their eyes falling
upon something -- and we PAN TO SEE IT.
It's the COCKPIT. Actually, the entire front SECTION OF THE
PLANE, smashed badly, UPENDED, resting against a giant tree.
The characters take it in for a moment. A horrible sight. And
as they exchange a look, ready for anything...
EXT. JUNGLE - RAINSTORM - DAY
BOOM DOWN over the massive piece of fuselage as Jack, Kate
and Charlie arrive, looking up at the terrifying debris. Our
TRIO moves around the WRECKAGE, twisted metal offering no
obvious way in. Kate SPOTS something:
KATE
(shouts over the rain)
OVER HERE!
Jack and Charlie come to Kate, who indicates a JAGGED OPENING
AT GROUND LEVEL -- enter-able, but TIGHT. Kate gets on her
stomach and CRAWLS into --
OMITTED
INT. FRONT SECTION OF THE PLANE - RAINSTORM - DAY
Kate stands up to find herself -- inside the front section of
the plane. Everything eerily CANTED: all of FIRST CLASS and
the FRONT LAVATORIES between her and the COCKPIT. OVERHEAD
BINS hanging open, the aisles themselves on an ANGLE -- RAIN
leaking in -- half a dozen BODIES still in their chairs.
Jack emerges from the opening -- Sees Kate is uneasy --
39.
CHARLIE
Let's find your transgizmo and get outta
here, yeah?
Jack starts to move up the aisle -- fighting GRAVITY -- has
to grab onto the SEATS so he doesn't fall...
Kate follows him, THE SOUND OF THE RAIN still pounding on the
shattered hull. Goes without being said --
This is all pretty fucking SCARY.
Charlie then crawls through. Stands. Looks up, toward the
cockpit. Takes it all in --
CHARLIE (CONT'D)
God... this is horrible...
He starts climbing behind them...
INT. FRONT SECTION OF THE PLANE - COCKPIT DOOR - RAINSTORM -
CONTINUOUS
Jack reaches the COCKPIT DOOR. Battered by the crash --
slightly ajar, but still LOCKED. Jack reaches in -- TUGS on
the door. But it won't open. Jack grabs a CHARRED FIRE
EXTINGUISHER...
JACK
(to Kate)
-- get back...
And Jack SLAMS the extinguisher down on the DOOR KNOB. Dents,
but nothing. SLAMS it down again -- the lock BREAKS a little -
- but it'll take some more SLAMS --
JACK (CONT'D)
(HITTING IT with all his MIGHT)
Come on-- come on-- COME ON!
BANG! The knob BREAKS off! And Jack drops the extinguisher -
RIPS OPEN THE DOOR AND THE COPILOT'S BODY FALLS OUT!
Kate SCREAMS -- Jack SHOUTS -- and the body lands RIGHT NEAR
CHARLIE, JUST AS HE'S CLIMBING INTO THE FRONT SECTION AND HE
SCREAMS --
CHARLIE
AAAHHH--DAMN! GOD!
Jack looks to Kate --
40.
JACK
You okay?
KATE
(no)
-- yeah, you?
CHARLIE
I'm all right! FYI-- I'm good...
And Jack pulls himself up and into:
INT. FRONT SECTION OF THE PLANE - COCKPIT - RAINSTORM -
CONTINUOUS
Rain pours through one of the shattered windows -- though
TREE BRANCHES and LEAVES obscures any view. The other windows
are intact, but thick with humidity. Branches and leaves also
obscure any view to the outside. The instrument panel broken -
- some pieces HANGING -- WIRES EXPOSED.
And the PILOT's body is here, slumped in his seat. Jack turns
back to Kate, who is about to climb up -- but she sees the
Pilot's body.
JACK
(protectively)
-- you don't have to come up here--
KATE
-- no, I'm good.
So Jack helps pull up Kate. As he starts searching
compartments:
KATE (CONT'D)
-- so what does a transceiver look like?
JACK
-- like a complicated walkie talkie.
Kate starts looking for it too. In order to check the Pilot's
compartment, she has to pull him back, off the controls. So
does, back into his seat and SUDDENLY THE PILOT JOLTS, AWAKE -
- KATE GASPS and Jack, shocked, moves to him -- the Pilot
COUGHS, disoriented and hurt. Jack unbuckles his straps --
checks his vitals --
JACK (CONT'D)
-- hey-- can you hear me?
(to Kate)
-- I need the water --
41.
PILOT
(dazed, weak)
-- what-- wh--
Kate quickly goes through the backpack as Jack undoes the
Pilot's tie, loosens his collar -- Kate hands the water to
Jack, who gives it to the Pilot -- he drinks a little, coughs
some up. A dried cut on the man's forehead -- his eye closed.
Although a pro, the Pilot is on the verge of tears.
PILOT
-- how many-- survived?
JACK
At least forty-eight. Including you.
(Pilot nods, heartsick)
-- anything feel broken?
The Pilot slowly, painfully begins to move -- but:
PILOT
Head hurts -- dizzy...
JACK
Probably a concussion.
PILOT
-- how long has it been?
JACK
Sixteen hours.
PILOT
-- sixteen...
(then, afraid)
-- has anyone come?
JACK
Not yet.
Jack and Kate watch as the Pilot closes his eyes, almost in
pain at the thought. Finally, his voice weak:
PILOT
Six hours in. Our radio went out. The
redundant system... the transponder --
wasn't functioning. No one could see us.
(then, with dread)
So we turned back. To land in Fiji.
(dear God...)
When we hit that turbulence... we were
over a thousand miles off course --
They'll be looking in the wrong place.
42.
Kate looks to Jack -- this is even worse news than he
anticipated.
PILOT (CONT'D)
We have a transceiver--
JACK
-- good, that's what we were hoping --
And the Pilot tries to stand -- it's hard, he's so bruised --
JACK (CONT'D)
You shouldn't try to...
PILOT
(getting his bearings now)
I'm all right.
(points to the panel)
Transceiver's in there.
Kate goes for a compartment -- and pulls out a DAMAGED RADIO.
She hands it to the Pilot. He starts to work it -- when Jack
realizes:
JACK
-- where's Charlie?
Good question. Kate moves back, out of the cockpit. The Pilot
keeps trying to radio -- but:
PILOT
-- it's not working...
INT. FRONT SECTION OF THE PLANE - RAINSTORM - CONTINUOUS
Kate peeks in -- but Charlie's nowhere to be seen. Played as
an eerie moment... but then she sees the door to one of the
FRONT LAVS is ajar. Hears something INSIDE.
Kate climbs back -- peers into the inverted bathroom, where
Charlie's leaning over the toilet bowl --
KATE
-- hey, what're you d--?
Charlie jumps -- nervous -- turns to her -- we HOLD ON
CHARLIE, he doesn't have a fast answer --
CHARLIE
-- what? Nothing --
But then: MROOOOOWRRRRRRRRROOOOOOOOOOOO BWWRRRRRRRRRRRRR! Oh
shit: the SOUND again. Except this time it's CLOSE --
43.
OMITTED
INT. COCKPIT - DAY
Jack turns -- the Pilot freezes --
PILOT
-- what the hell was that?
JACK
(whisper yell to the back)
Kate!
Kate's quickly climbing back in --
KATE
(sotto)
-- it's right outside --
PILOT
-- what's righ--?
JACK
-- shh!
-- whatever it is, it's RIGHT THERE -- stepping now, outside
the cockpit -- they're motionless as there's ANOTHER STEP --
the WIRES in the cockpit SHAKE with the apparent "FOOT"
IMPACT -- and a DARK SHAPE CROSSES the window --
Jack SLOWLY climbs up -- on one of the pilot seats -- and he
uses his hand -- wipes away some of the humidity on the
window in order to look outside -- but there's no way to see
a thing out there.
So the Pilot gets up -- moves toward the broken window
covered with LEAVES and BRANCHES --
JACK (CONT'D)
-- I wouldn't do that.
PILOT
-- good to know.
And the Pilot puts the transceiver down on his seat as he
pushes away the LEAVES and BRANCHES and PEEKS HIS HEAD OUT
THE SHATTERED WINDOW.
Jack and Kate watch, terrified for a moment. Then, quietly:
KATE
... do you s--
44.
SUDDENLY THE PILOT'S BODY GETS YANKED UP -- BUT HIS LEGS HIT
THE DASH SO WHATEVER'S GOT HIM CAN'T PULL HIM OUT AND KATE
SCREAMS AND THE PILOT -- HIS UPPER BODY OUTSIDE THE COCKPIT --
DROPS THE TRANSCEIVER ONTO THE FLOOR AND HE SCREAMS
BLOODYFUCKINGMURDER AS JACK MOVES TO HOLD KATE BACK --
CHARLIE SCRAMBLES UP, YELLING:
CHARLIE
-- WHAT THE HELL'S HAPPE--?!?!
-- NOW CHARLIE'S SCREAMING AS THE PILOT'S BODY GETS YANKED UP
AGAIN -- BAM! -- HIS LEGS HIT THE DASH AGAIN -- THE PILOT'S
SCREAMS ARE HORRIBLE -- KATE SCREAMS AGAIN AS THE PILOT
FINALLY GETS YANKED OUT OF THE COCKPIT AND SUDDENLY THE THING
OUTSIDE SLAMS INTO THE SIDE OF THE COCKPIT --
Jack, Kate and Charlie all on the ground, scrambling to get
out, trying to get the fuck out of the cockpit but --
Jack looks back -- sees the TRANSCEIVER has fallen off the
pilot's seat. He reaches for it -- BAM! The cockpit jars
again -- transceiver skitters out of Jack's grasp --
KATE
JACK! C'MON!
CHARLIE
LEAVE IT!
JACK
No...
But he doesn't give up -- lunges after it -- SLAM! Jack loses
his footing, lands on his stomach -- transceiver's just
sitting there, arm's length away and --
Jack finally gets it into his grasp -- staggering to his feet
as it SHIFTS again and --
BAM!!! ONCE -- THE THREE FALL DOWN -- TWICE -- AND THEN AGAIN
-- AND THE WHOLE COCKPIT DROPS --
EXT. FRONT SECTION OF THE PLANE - RAINSTORM - CONTINUOUS
-- the giant piece of jet CRASHES to the ground -- we're
TIGHT so that we don't see the BEAST that's done it -- but
now it makes a HORRIBLY LOUD CRY --
INT. FRONT SECTION OF THE PLANE - COCKPIT - RAINSTORM -
CONTINUOUS
-- and it's so LOUD in here. Jack scrambles after Kate and
Charlie, all three trying to get the fuck outta here --
45.
EXT. FRONT SECTION OF THE PLANE - RAINSTORM - CONTINUOUS
-- and they do -- and they're RUNNING IN THE RAIN LIKE CRAZY -
- another LOUD STEP and as we're TRACKING AT HIGH SPEED
THROUGH THE RAIN -- WE WHIP PAN TO A SPRINTING KATE --
And we INTERCUT NOW between KATE, JACK AND CHARLIE -- ALL
RUNNING LIKE NUTS --
MROOOOOWRRRRRRRRROOOOOOOOOOOO BWWRRRRRRRRRRRRR!
Christ, it's close -- THE SOUND is all around us now, no idea
if we're running toward it or away from it, just PURE FUCKING
FEAR AND CONFUSION and...
CHARLIE
Runs through THICK TANGLED ROOTS and
WIPES OUT -- coming down HARD -- WIND
knocked out of him -- he tries to get up
but CAN'T -- suddenly JACK is there to
help him up --
JACK
C'MON!
But Charlie's foot is caught and the fucking THING is COMING -
LOUDER AND LOUDER and that's when we CUT TO:
KATE
Still running, up ahead -- CRYING as she
runs through the rain -- almost losing
her footing, but not -- distant SCREAMS
OVERWHELMED by a THUNDERCLAP and Kate
SCREAMS as she runs:
KATE (CONT'D)
JACK!!!
But when the THUNDER stops, the screaming is gone -- and Kate
runs and runs and finally SLIPS -- FALLS HARD -- scrambles to
her feet and takes SHELTER inside:
OMITTED
EXT. TREE TRUNK - RAINSTORM - CONTINUOUS
-- Kate's hiding now, in the ALIEN BRANCHES AND VINES of a 90
FOOT-TALL TREE. She waits there... and waits... TERRIFIED...
and we just HOLD ON HER... AND HOLD... until she SCREAMS OUT -
KATE
JAAAAAACK!!!
46.
-- but there's nothing -- no one -- and she waits... her eyes
GLUED TO THE DIRECTION THEY JUST CAME FROM... she breathes
heavily, waiting... and WE HOLD ON HER FOR ALMOST A MINUTE.
And as soon as we get so close we couldn't possibly get any
closer -- she whispers to herself, terrified:
KATE (CONT'D)
One... two... three... four...
CUT TO BLACK.
END ACT THREE
FADE IN:
EXT. JUNGLE - DAY
Kate is exactly where we left her, tucked amongst the roots
of the alien tree. Rain pouring down around her. Dark in
here. She's scared to death. We're with her. CLOSE.
And she hears a SOUND over the rain -- something moving
towards her -- and she turns around -- looking behind her
now, petrified.
Nothing there. Her eyes wide, blinking in the rain. Nothing
but jungle.
She then turns back -- AND CHARLIE IS STANDING RIGHT THERE --
and it scares her so much she SCREAMS AND GRABS HIM --
PUSHING -- AND THEY FALL OVER onto his back, her lying on top
of him in the mud --
KATE
WHERE THE HELL'S JACK?!
-- did you see him?!
-- so where is he?!
-- HOW COULD YOU NOT KNOW?!
CHARLIE
-- I don't know!
-- yes! He helped me up--!
-- I don't know where he--!
-- WE GOT SEPARATED!!!
-- and Kate stops long enough for Charlie to say:
47.
CHARLIE
-- he pulled me up. If he hadn't, that th-
-
KATE
-- did you see it?
CHARLIE
No. No. But it was right behind us. We
were dead -- I was. Until Jack came back
for me.
And just then, something remarkable happens. The rain stops.
As abruptly as it started, it's gone. They both look back the
way they came -- Kate looking up, Charlie, still on his back,
craning his head.
KATE
We have to go back for him.
CHARLIE
Go back? There? Love -- listen -- there's
a certain... gargantuan quality to
whatever the hell that thing is --
She's already getting up:
KATE
-- then don't come.
And she goes off, after Jack. Pissed and nervous, Charlie
finally goes after her.
OMITTED
EXT. JUNGLE - MOMENTS LATER
DOLLY OUT OF THE THICK FOLIAGE to find Kate and Charlie,
walking slowly through the dripping-wet jungle, back the way
they came. They're edgy... and we're moving with them. The
DRIPPING SOUNDS somehow unnerving.
Then Kate sees something up ahead. Something GLISTENING in
the mud -- and she moves for it, Charlie behind her.
And she gets to it -- kneels -- it's a scattered collection
of COINS. And among them, something she picks up.
A PILOT'S WINGS PIN.
And Kate stares at the pin, horrified... because she senses
what's coming next. She SLOWLY LOOKS UP. And sees something
horrific. Charlie looks up too. His mouth opens in shock.
48.
CHARLIE
... what the hell's that...?
Then, a welcome voice:
JACK (O.S.)
It's the pilot.
And they turn around -- grateful to see Jack approaching from
the jungle -- Kate moves to him, scared --
KATE
-- did you see it?
JACK
No. It was right behind me, I dove into
the bushes.
Charlie's eyes have gone back to the tree.
CHARLIE
... excuse me, people... but... how the
hell does something like that happen...?
And they all look up again... and we FOLLOW THEIR GAZE to
reveal that, stuck up in a branch, at least thirty-five feet
above ground -- IS THE BLOODY, TORN BODY OF THE PILOT. Dead
now, for sure.
EXT. JUNGLE - AFTERNOON
Jack, Kate and Charlie walking back. A pregnant SILENCE. All
of them still in the wake of the insanity of what just
happened. Jack up front, fiddling with the transceiver.
CHARLIE
Anything?
JACK
(not happy)
... you keep asking me if there's
anything.
CHARLIE
Pardon me for appearing desperate, but in
case you didn't hear the pilot before he
was eaten, they're never going to find us
unless we get that thing to work.
(deep breath, then)
So is there anything?
JACK
No.
49.
KATE
What were you doing. In the bathroom.
CHARLIE
Oh, I thought you could tell. I was
getting sick. Puking. My one...tangible
contribution to this trek.
KATE
No, I'm glad you came.
CHARLIE
Yeah, every trek needs a coward.
KATE
You're not a coward.
And as they walk we're TIGHT ON CHARLIE, who considers this
as they walk... and we HOLD TIGHT ON HIS FACE AS SOUNDS FADE
IN -- SOUNDS OF AN AIRPLANE IN FLIGHT -- THEN:
FLIGHT ATTENDANT #1 (V.O.)
Are you all right, sir?
AND SUDDENLY WE
CUT TO:
INT. PLANE - MIDAIR - DAY
Back on the PLANE, PRE-CRASH. CHARLIE sits in his seat near
the rear of the plane, shaking. Pale. SWEAT dots his brow. He
looks up at the same FLIGHT ATTENDANT that helped Jack:
CHARLIE
Yeah -- I'm good, thanks.
FLIGHT ATTENDANT #1
Can I get you some wat--?
CHARLIE
(go away)
I'm fine. Thank you. Please.
The Flight Attendant stares. Then:
FLIGHT ATTENDANT #1
All right.
As she heads to the back of the plane, she looks at him,
maybe a little SUSPICIOUSLY.
50.
Charlie taps his hand, FIDGETY. Takes a quick peek over his
shoulder at --
THE REAR GALLEY
The Flight Attendant who he just blew off talks to TWO MALE
FLIGHT ATTENDANTS in hushed tones and --
All three look up at Charlie.
He immediately faces front -- nervous. TIGHT on him. He turns
back -- takes another peek --
ALL THREE FLIGHT ATTENDANTS are heading back up the aisle
towards him --
Charlie quickly undoes his seatbelt, gets up in one swift
motion --
FLIGHT ATTENDANT #1
Sir? Excuse me --
But Charlie's already moving fast down the aisle -- and he
brushes by JACK, getting up from his own seat --
CHARLIE
Sorry...
And as Charlie moves on, we can just hear behind him --
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