Episode #: 601

L O S T
“The Choice”
 LOST
“The Choice“
#601

TEASER

1 EXT. CLUSTERED TREES – DAY 1

An EYE. Opening. Blinking. And the camera PANS OUT to

reveal JACK SHEPHARD. Lying in a clearing, arms splayed
out, in a simple black suit with a tie to match. He looks
around him, completely unsure of where he is, or when he
is, then stands up slowly, steadying himself on his
wobbly knees, looking around at the trees around him –
FRIGHTENED.

2 EXT. DARKENED FOREST PATH – IMMEDIATELY FOLLOWING 2

And now Jack takes off through the trees, running through
faster than he has in his life, desperate to break through
the endless brush around him and find something ahead,
until-

3 EXT. SHEPHARD HOME – BACK DOOR – IMMEDIATELY FOLLOWING 3

Jack stops dead in his tracks, frozen in shock to find

standing in front of him and the thicket behind him -

A PRISTINE SUBURBAN HOME. Waiting in front of Jack,

resting on a homey street, a bright party out in back of
it. Several GUESTS mill around, idly chatting as they sip
on cocktails.

However, they are interrupted by Jack's sudden arrival,

breathing heavily as he stands in front of the crowd in
front of him. Jack looks around at them, entirely at a
loss for words . . . and yet at the same time, the ghost of
a smile is creeping across his face. His reverie, however,
is interrupted by -

WOMAN'S VOICE (O.S.)

Jack?

(CONTINUED)
 2.

3 CONTINUED: 3

Jack spins around to find standing just to his left, dressed

in her best Sunday outfit -

MARGO SHEPHARD. JACK'S MOTHER. Looking over at her son

with anger, embarassment, and even fear flying across her
face.

MARGO (CONT'D)
Jack?

But Jack looks at his mother with nothing but surprise, joy,
and sheer gratification.

JACK
Mom?

Margo's eyes close with a certain knowing and shame.

MARGO
You're drunk.

Jack's brow knits in confusion as his mother walks over to

him, placing her arm around his shoulder and leading him
into the crowd towards the house.

4 INT. SHEPHARD HOUSE – KITCHEN – LATER

The pristine Shephard kitchen, with a gleaming tiled island

in the center of the room. Jack sits on one side, his eyes
unfocused on the ceramic in front of him, his mother on the
other.

Margo pours a cup of strong black coffee into a white mug,

bringing it over immediately to Jack. Jack takes it numbly,
not even looking up at his mother, but simply taking a sip
of his drink. Margo moves across the kitchen island to her

MARGO
You want to tell me what happened?

Jack looks up at his mother, entirely unsure of what to say.

(CONTINUED)
 3.

4 CONTINUED: 4

JACK
You probably wouldn't believe me.

MARGO
Please, Jack. I don't want to start
this now. It's bad enough with what
happened to your father, he was supposed
to be here -

Jack looks up at Margo, concerned.

JACK
What happened to dad?

MARGO
I already told you he's in Australia,
you're the one who didn't want to talk
about it.

Jack suddenly gets up from his chair, heading over to the

door.

JACK
I need to lie down.

Margo gets up from her chair, stopping her son at the door
and putting her hands warmly on his face.

MARGO
Jack, wait. Can't you at least
talk to me?
(A beat, then:)
It's my birthday.

Margo smiles faintly, but Jack doesn't return the gesture.

Instead, his eyes wander to the calendar on the wall, open
to September 2004. Jack's eyes widen in shock.

JACK
It's 2004 . . .

(CONTINUED)
 4.

4 CONTINUED: 4

Margo looks up at Jack, now seriously concerned for her

son's health.

MARGO
Of course it is.
(She checks his forehead, then:)
Maybe you should lie down.

Suddenly, Margo is interrupted by the phone ringing. Jack

jumps slightly, but Margo walks quickly over, answering it.

MARGO (CONT'D)
Hello . . . yes, it is . . . yes,
he's right here . . . of course.

Margo looks at Jack, slightly confused as she moves the

headset down a bit.

MARGO (CONT'D)
There's a woman who says she has to
talk to you.
(A beat, then:)
Do you know a Kate Austen?

Jack looks at his mother in complete shock, then nods,

moving slowly towards the phone. He takes it from Margo
trepidatiously, moving it towards his ear.

JACK
Hello?

KATE (V.O.)
Jack?!

JACK
Kate. Where are you?

5 INT. MULLEN HOME – KITCHEN – MORNING 5

KATE AUSTEN stands in a homey kitchen, dressed in a brown

leather jacket, a striped tank, and dark khakis, panicked.

(CONTINUED)
 5.

5 CONTINUED: 5

KATE
I'm in Australia. I don't know
how I got here.

6 INT. SHEPHARD HOME – KITCHEN – DAY 6

JACK
How did you-

KATE (V.O.)
What the hell happened?!

JACK
I don't . . .

Jack notices his mother staring at him, so he turns around,

facing the window out to the backyard.

JACK (CONT'D)
How did you know this number?

7 INT. MULLEN HOME - KITCHEN – MORNING 7

Kate looks around her, trying to find her bearings as she

speaks frantically to Jack.

KATE
Because you told me. Jack, I
remember everything. I remember
you, I remember your mother, I remember
the island, and I remember that a
hydrogen bomb went off with us next
to it.

And from that, we WHOOSH to:

8 EXT. SWAN CONSTRUCTION SITE – DAY - FLASHBACK

Kate, now appearing as she did in the season five finale,

tries to pull SAWYER off of the pipes and machinery being
sucked into the cavernous hole in front of them.

(CONTINUED)
 6.

KATE
Sawyer, get off of there!

She keeps struggling to tear him away, but to no effort.

KATE (CONT'D)
We have to go right now. We need to
go!

SAWYER
Get off!

Kate keeps trying to pull Sawyer off as an electromagnetic

hum pulsates loudly around them.

CUT TO:

9 EXT. JUNGLE - CLEARING – SIMULTANEOUSLY 9

HUGO REYES tries to peer through the trees at what's going

on at the Swan site, but he can't see anything.

HURLEY
Why hasn't anything happened yet?

JIN (O.S.)
Hurley!

Hurley spins around to see JIN KWON pressing a pile of rags

onto the bullet wound in SAYID JARRAH'S stomach, doing
whatever he can to staunch the bleeding.

JIN (CONT'D)
I need some help here!

HURLEY
Dude, you don't want me around blood.

Sayid sits up a bit, breathing heavily as he addresses Jin.

SAYID
It won't matter. Any second now,
that bomb will go off and . . .

(CONTINUED)
 7.

9 CONTINUED: 9

Sayid is at a loss for words, but Jin nods, accepting the

truth of what is about to happen.

JIN
. . . whatever happens, happens.

Sayid nods, bracing himself for whatever is to come. Jin

and Hurley do the same as the electromagnetic pulsing grows
louder, becoming a near-deafening presence for the three
survivors.

10 INT. SWAN PIT – SIMULTANEOUSLY 10

From “The Incident”, JULIET BURKE pounds on the Jughead

core, desperately willing it to detonate.

JULIET
Come on! Come on!

And, with one last tap to the core:

JULIET (CONT'D)
Come on, you son of a bitch!

The bomb detonates, and a white light fills the entire

screen.

FADE TO:

11 EXT. JUNGLE - CLEARING – IMMEDIATELY FOLLOWING 11

Sayid Jarrah lies alone, his eyes closed, the rags still
covering his midsection. Suddenly, his eyes open, hoping
for some indication that Jack's plan worked, but to no
avail. The same jungle lies around him, just as before.
But one thing has changed, which Sayid quickly notices as he
looks around, his defeated expression turning to shock:

SAYID
Jin? Hurley?!

(CONTINUED)
 8.

11 CONTINUED: 11

Sayid's calls are answered by a rustling ahead. Sayid looks

up expectantly.

SAYID (CONT'D)
Hello?

The bushes ahead of Sayid continue to rustle, accompanied

by a sound that Sayid recognizes immediately : the WHISPERS.

SAYID (CONT'D)
Who are you?

The whispers grow louder, coming closer and closer to Sayid,

until-

SAYID (CONT'D)
Who are you?!

SHANNON RUTHERFORD steps out from the jungle, standing in

front of Sayid, dressed in a fresh outfit and looking
resplendent. Sayid stares forward in shock.

SAYID (CONT'D)
Shannon . . .

SHANNON
Hello, Sayid.
(She steps forward, then:)
I need you to get up and follow
me.

SAYID
I can't get up . . . I was shot.

Shannon and Sayid down at Sayid's wound.

SHANNON
Please. You're fine.

(CONTINUED)
 9.

11 CONTINUED: 11

Sayid slowly removes the rags to discover that his wound has
entirely healed. He looks up at Shannon, desperate for an
answer.

SHANNON (CONT'D)
Just come with me.
(Sayid does nothing, so:)
I need you to believe in me.

SAYID
Why?

SHANNON
Because you have work to do.

Sayid stares forward at Shannon, completely dumbfounded.

END OF TEASER
 10.

ACT ONE

12 EXT. JUNGLE – PATHWAY - A LITTLE LATER 12

Shannon seems to know where she's going as she walks

steadily through the jungle, Sayid at her heels.

SAYID
Can you answer any of my questions?

SHANNON
I could. But I'm taking you to someone
who could tell you a whole lot more.

Sayid takes Shannon's arm, turning her around to face him.

SAYID
Then at least tell me what you are.

SHANNON
(Annoyed:)
I'm dead, all right? You were there.
But this Island isn't exactly a place
where you can stay dead.
(Off his look:)
Haven't you ever wondered what the
whispers are?

SAYID
So, now there are ghosts walking around?

SHANNON
Not quite. The man I'm taking you
to see can tell you all about it.

Shannon starts to turn around, but Sayid stops her -

SAYID
No. How can I be sure that you're
really Shannon and not -

Shannon cuts him off by planting a KISS right on his lips.

(CONTINUED)
 11.

12 CONTINUED: 12

A long, passionate kiss. And as she breaks apart, she

leaves Sayid with his eyes closed, the memory of their time
together rushing back to him. Shannon, however, keeps her
gaze level, cold and calculating.

SHANNON
It's me.

She turns around and starts walking, then:

SHANNON (CONT'D)
Or maybe you don't remember.

Sayid opens his eyes, then starts jogging after Shannon.

SAYID
Shannon, I'm sorry. I thought-

SHANNON
It's fine, Sayid. I think I always
knew we weren't really meant to be
together.

SAYID
I did love you.

SHANNON
I know.

Shannon stops at some trees, looking around for something -

or someone.

SHANNON (CONT'D)
He should be here soon.

SAYID
Who should?

SHANNON
(Matter-of-fact:)
Jacob.

(CONTINUED)
 12.

12 CONTINUED: 12

Shannon turns around, expecting some sort of understanding

from Sayid, but is instead met with:

SAYID
And who is Jacob?

Shannon opens her eyes in surprise, but cannot stifle a bit

of a grin.

SHANNON
You don't know him. I guess you
wouldn't.
(Seriously:)
But you've met him before.

SAYID
Where?

But before Sayid can answer, a man steps out from the bushes
in front of them. And, just as Shannon said -

JACOB. Dressed in his simple white shirt and khakis.

Barefoot. As if he had just stepped away from his home.

And now Sayid looks at him, memory beginning to stir in his

eyes.

JACOB
Hello, Sayid.

SAYID
You were the man . . . who asked me
for directions. The day that Nadia
was killed, you said you were lost.

JACOB
And so I was. But now you're the one
who needs my help.

SAYID
Why?

(CONTINUED)
 13.

12 CONTINUED: 12

JACOB
Because you have a choice to make.
And your choice starts at the Orchid.

Sayid raises an eyebrow to the Orchid Station.

SAYID
Then we should go.

Jacob nods, heading back into the jungle. After a moment,

Sayid follows after him, Shannon remaining behind. And the
WHOOSH starts up once more, taking us to :

13 EXT. TAWARET STATUE – BEACH EXTERIOR – NIGHT 15

SUN KWON sits on the beach, staring forward at the corpse of

JOHN LOCKE lying sideways in the sand in front on her. She
then looks up at the coffin next to him, and further above
that, at the group of OTHERS huddled together.

Sun's gaze, however, is broken by FRANK LAPIDUS, who walks

up to her, taking a seat and staring forward at John Locke.

FRANK
Glad to see you're OK.

SUN
And you.

FRANK
Actually, I've had a bit of a
headache. Nosebleed, too.
(A beat, then:)
Probably just stress. Lack of
sleep, you know?
(Re: Locke's corpse)
What do you make of that?

SUN
(Re: Richard and Ilana)
Something tells me they're trying
to figure that out.
(CONTINUED)
 14.

13 CONTINUED: 13

A ways away from them, ILANA stands, her gun cocked behind
her, in front of RICHARD ALPERT, whose eyes glance towards
the statue as he speaks with her.

RICHARD
I don't know what more I can tell
you. He seemed different to me, but
he looks just like John Locke.

ILANA
He's not.

RICHARD
I think we're all aware of that,
thanks.

Ilana doesn't even crack a grin, but follows Richard's gaze

over to the statue.

ILANA
Why did he want to come here?

RICHARD
He said he wanted to know what
Jacob's intentions were. Said he
wanted to be reunited with his people.

ILANA
If he was looking for Jacob, why
didn't he go to the cabin first?

Richard breaks his gaze from the statue, looking at Ilana

quizzically.

RICHARD
What cabin?

Ilana looks at Richard suspiciously, her hand drifting

imperceptibly towards her rifle. Richard takes notice of
this, but makes no comment.

(CONTINUED)
 15.

13 CONTINUED: 13

ILANA
I have to wonder if you're telling
the truth about this.

RICHARD
And I have to wonder who you are.

ILANA
My name is Ilana, and I'm with Jacob,
just like you.

RICHARD
You know, I've been on this Island
a long time, and I don't ever remember
meeting you.

ILANA
It's been a long time since I've been
here.

RICHARD
How long?

Ilana pauses, unsure of what to say, but she is interrupted

by Sun.

SUN
Help! Someone please, I need some
help here!

Richard immediately runs over, pushing his way past several

of the Others.

RICHARD
Move it, come on, move it . . .

Richard reaches Sun, who stands over an unconscious Frank,

several small paper napkins squeezed around his bloody nose.

RICHARD (CONT'D)
What happened?

(CONTINUED)
 16.

13 CONTINUED: 13

Richard bends down, examining Frank.

SUN
I don't know. He said he had a headache,
then he just . . .

RICHARD
All right. Get some some water and
some more towels.

Sun nods, getting up and heading back into the crowd. Ilana
moves over to Richard, bending down next to him.

ILANA
You ever seen this before?

RICHARD
Nothing quite like it, no.
(He turns around, then:)
Sun, do you have the . . .

But Sun is nowhere to be found. Richard stands up, looking

around in the crowd.

RICHARD (CONT'D)
Did anyone see where she went?

No one speaks up. Ilana looks around, seriously concerned.

ILANA
It's like she disappeared.

Richard turns back to her, nodding gravely as the WHOOSH

sound starts up.

SAYID (V.O.)
Jin. Hurley. They just disappeared.

14 EXT. JUNGLE – PATHWAY – DAY 14

Sayid follows Jacob through the jungle.

(CONTINUED)
 17.

14 CONTINUED: 14

JACOB
They have their own journeys now.
You can only be concerned with yours.

Sayis looks around, frustrated by Jacob's cryptic answers.

SAYID
Then at least tell me what it is.
Why everything has happened since we
boarded Ajira 316.

JACOB
You know, Sayid, I find it interesting
that of everyone who came back here,
you were the only one who didn't choose
to go on board.

SAYID
What are you talking about?

JACOB
Jack, Kate, Hurley, Sun . . . they all
returned to the Island willingly. But
you were forced to.

SAYID
Why would I ever choose to return here?

Jacob turns around to face Sayid, an expression of calm on

his face to counter Sayid's impatience.

JACOB
Because you have a part to play in the
destiny of this Island . . . if you
choose to, of course.
(A beat, then:)
But you're not one to make choices,
right?

SAYID
You don't know who I am.

(CONTINUED)
 18.

14 CONTINUED: 14

Jacob smiles as he turns around.

JACOB
We're here.

Jacob steps through a large underbrush. After a moment,

Sayid follows.

15 EXT. ORCHID WELL – IMMEDIATELY FOLLOWING 15

Jacob leads Sayid out towards the stone well at the Orchid
site.

JACOB
You want to leave this island, Sayid?
Well, here's your way out.

Sayid examines the well carefully, his eyes moving towards

the rope descending downward.

SAYID
You're telling me if I go down this
well I can return to my old life?
No bullet wound, nothing?

JACOB
Your past here will be erased.
(Off his look:)
I guarantee it.

After a moment, Sayid nods, taking the rope into his hands
and checking its endurance. He then looks back up at Jacob.

SAYID
Can you at least tell me what
happened?

JACOB
There's a war on this Island, one
that we're all a part of. And when
Juliet Burke detonated that bomb . . .

(CONTINUED)
 19.

15 CONTINUED: 15

JACOB (CONT'D)
things changed. History was ripped
open, just as you thought it would be.
And now you can make all the choices
you wished you could have.

SAYID
So it worked.

JACOB
It did what you wanted it to.

Jacob nods towards the well, but Sayid remains immobile,

standing over the well.

SAYID
What are you not telling me?

JACOB
What I'm not telling you is that
I've just been killed by Benjamin
Linus.

SAYID
(Nonplussed:)
I'm sorry, but I'm not surprised.

JACOB
I wasn't either. I planned for it.
(A beat, then:)
And you're part of that plan.

SAYID
You're saying I'm one of your soldiers?

JACOB
(Pensive:)
It doesn't exactly work like that.

SAYID
Then I doubt you have any need for me.

(CONTINUED)
 20.

15 CONTINUED: 15

And, without another word, Sayid descends into the well.

16 INT. FROZEN DONKEY WHEEL – A LITTLE LATER 16

Breathing heavily, Sayid slides down the lowest portion of

the rope, emerging into the frozen chamber below. His eyes
immediately move towards the wheel in front of him, a wrench
resting beside it. Sayid moves the wheel, examining it.
Suddenly, he is startled by Shannon's voice behind him.

SHANNON
Just turn it and you're off the Island.

SAYID
This is what John moved, isn't it?

SHANNON
Don't worry. The wheel won't move the
Island, just you.

Sayid looks back at Shannon, then picks up the wrench,

slamming it down into one of the spokes.

SAYID
Will I end up where he ended up?

SHANNON
Like it'd be that simple.

Sayid nods, turning back to the wheel and starting to move

it. Shannon stares forward mournfully.

SHANNON (CONT'D)
Goodbye, Sayid.

SAYID
Goodbye, Shannon.

Sayid finishes moving the wheel, and he and Shannon are

engulfed in a bright white light.

END OF ACT ONE

 21.

ACT TWO

17 EXT. UNKNOWN DESERT – MORNING 17

Another EYE opens wide, blinking in the morning sun. But it

is immediately clear that this is certainly not Jack's. And
as we pan out once more, we see that we are with -

HURLEY. Lying on his back in the sand. In a plaid button

down shirt over a green T-shirt. Seemingly in the middle of
nowhere.

He looks around him, standing up slowly as he tries to gain

his bearings. And, just as he's about to give up hope on
finding any sort of civilization -

A SHACK. Just outside of the corner of Hurley's eye.

Placed alone in the desert, miles away from anything else.
After a moment, Hurley catches eye of this, taken entirely
off-guard.

HURLEY
No way.

Hurley sighs to himself, then sets off for the cabin.

18 EXT. TOOMEY HOME – ENTRANCE – IMMEDIATELY FOLLOWING 18

Hurley knocks on the front door, waiting expectantly for an

answer. After a few moments, the door opens, revealing
MARTHA TOOMEY, dressed just as she was when Hurley visited
her in “Numbers”, annoyed at Hurley's appearance.

MARTHA
Now, Mr. Reyes. I've told you all
I know. If you'd just be on your
way . . .

Martha shuts the door as she finishes, leaving Hurley

standing in the desert.

HURLEY
Hey, wait!
(CONTINUED)
 22.

19 INT. TOOMEY HOME – LIVING ROOM – MORNING – FLASHBACK 19

Hurley sits with Martha Toomey, sipping coffee.

HURLEY
Leonard Sims . . . he told me
about Sam hearing something.

MARTHA
You're talking about the numbers.

HURLEY
I used them, the numbers, to win the
lottery. And now I think I'm under
the same curse.

MARTHA
You make your own luck, Mr. Reyes.
Don't blame it on the damn numbers.
You're looking for an excuse that
doesn't exist.

Hurley leans back, defeated at Martha's answer to his

questions.

20 EXT. TOOMEY HOME – ENTRANCE – MORNING 20

Martha opens the door once more, confused and starting to

get pissed off. Hurley steps back, still in shock.

HURLEY
Hey.

MARTHA
Well, if you're going to scream
yourself hoarse.

Martha opens the door, letting Hurley into the cabin.

21 INT. TOOMEY HOME – LIVING ROOM – IMMEDIATELY FOLLOWING 21

Hurley re-enters the homey room, looking around in wonder.

Martha, however, seems frustrated as she closes the door
behind her.
(CONTINUED)
 23.

21 CONTINUED: 21

HURLEY
It's September 2004, isn't it?

MARTHA
Yes, of course, September 15, 2004.
(A beat, then:)
You're suffering from the damn heat,
aren't you?

Martha moves over to the sink, preparing a glass of water

for Hurley. Hurley moves back to the couch, steadying
himself as he looks at Martha in shock.

HURLEY
Nothing. I'm just a little . . .
confused.

Martha returns to Hurley, offering him the glass of water

with a grimace.

MARTHA
Well, that's not hard to see.

Hurley takes the glass of water, slowly taking a sip.

MARTHA (CONT'D)
What is it you want, Mr. Reyes?
Here to tell me more about your curse?

Hurley pauses, setting the glass of water down on a table

by Martha's sofa, starting to realize the full ramifications
of the success of Jack's plan.

HURLEY
(To himself)
It's not a curse, it's a gift . . .
I can change it now . . .

Hurley starts moving out of the house towards the car.

Martha stares at him furiously for a moment, then follows
him out.

(CONTINUED)
 24.

22 EXT. TOOMEY HOME – ENTRANCE – IMMEDIATELY FOLLOWING 22

Hurley strides towards the pristine car in the desert,

Martha a few paces behind him.

MARTHA
Where do you think you're going?
Mr. Reyes! Mr. Reyes!

Hurley reaches the car, unlocking it and turning back to

Martha, smiling.

HURLEY
I gotta get to Sydney.

Martha stares at Hurley in shock as he climbs into the car.

HURLEY (CONT'D)
Thanks for your help!

And, without another word, Hurley slams the car door, taking
off into the desert.

23 INT. OCEANIC PLANE – BUSINESS CLASS – DAY 23

Sayid sits in a row by himself, reading a newspaper idly.

After a moment, a light beep is heard in the cabin. Sayid
looks up to see that the “Fasten Seatbelt” sign has turned
on. He then buckles his seatbelt, smiling to himself as he
sets the newspaper down on the chair beside him.

STEWARDESS (V.O.)
Ladies and gentlemen, the captain has
turned on the fasten seatbelt sign.
We're coming in for our final landing
at LAX. Thank you for flying with
Oceanic Airlines on Flight 739.

Sayid settles back in his chair as the plane lands, glancing

over at the paper beside him. PAN IN on the paper to find
the date : September 22, 2004. The familiar WHOOSH is heard
and we CUT TO :

(CONTINUED)
 25.

24 EXT. LOS ANGELES PARK – POND – EVENING - FLASHBACK 24

NADIA and Sayid walk hand-in-hand throughout the park,

enjoying the beautiful landscape around them. As they reach
the edge of the pond, Nadia stops, looking across it, then
back at Sayid.

NADIA
This looks like a good spot.

SAYID
Then we'll stop here.

Sayid and Nadia sit on the grass, staring out at the lak.

NADIA
I've come here many times before,
you know. It's a beautiful spot.

SAYID
It is. It's been a long time since
I've been able to enjoy something like
this.

NADIA
(Concerned:)
Because of what happened on that island?

SAYID
(Uncomfortable:)
Yes.

Nadia reaches forward, placing her hand on Sayid's arm.

NADIA
What happened there? What are
you not telling me?

Sayid looks over at Nadia, suddenly becoming emotional.

SAYID
If I told you everything I did,
everything I've done my whole life-

(CONTINUED)
 26.

24 CONTINUED: 24

Sayid breaks away, and after a moment, takes a stone and

throws it into the lake ahead. After a moment, Nadia does
the same.

25 INT. JEWELRY SHOP – MAIN SHOWROOM – DUSK 25

Sayid walks into the empty shop, looking around for someon.

SAYID
Hello? Is anyone here? I'm looking
to buy a ring.

VOICE (O.S.)
You're just in time. We were about to
close.

Sayid looks to the back of the shop, towards the source of

the voice. After a moment, a woman steps out, smiling at
Sayid. The woman? ELOISE HAWKING.

HAWKING (CONT'D)
Now, you said you wanted a ring. For
an engagement?

SAYID
Hopefully, yes.

Hawking smiles, taking Sayid over to a case by the front.

HAWKING (CONT'D)
If you don't like any of these, we
have some new pieces in the back.

Sayid shakes his head, pointing to a simple but elegant ring

in the front of the case.

SAYID
That one there's perfect.

Hawking looks up at Sayid, thinking quickly as she waves

towards the back.

(CONTINUED)
 27.

25 CONTINUNED: 25

HAWKING
The rings in the back are truly a
wonder, and at a fair price. Why
don't you just go and take a look?

SAYID
Thank you, but I'm in a hurry, so
if you could take that one out.

HAWKING
No, Sayid. I can't.

Sayid stares up, staring daggers across the case at Hawking.

SAYID
Who are you?

HAWKING
It doesn't matter who I am. What
matters is that you are about to
make the most important choice of
your life, and I have to tell you
what it is.

Sayid looks at Eloise for a moment, then lunges across the

case, grabbing her by the top of her cardigan and lifting
her up into the air.

SAYID
What do you want from me?!

HAWKING
All I want is for you to do what
you're supposed to do.

SAYID
And if I don't?

HAWKING
Then the fate of this entire world
is left to chance.

(CONTNUED)
 28.

25 CONTINUED: 25

Sayid stares at Eloise for a good long moment, then sets her
down, heading towards the rear of the shop.

HAWKING (CONT'D)
What are you going to do, Sayid?
Go back to your wife? Life your
life a torturer, a murderer?

Sayid turns around, resolute at the door, prepared for

anything Hawking has to say.

SAYID
That's exactly what I'm going to do.

HAWKING
Then you will live it alone.

He wasn't prepared for that.

SAYID
What are you talking about?

Hawking grimaces, moving around the shop and closing up as

she speaks.

HAWKING
You see, Sayid, when your plane
crashed on the Island, Nadia was on
her way to work. She was passing by
a television store when she saw the
crash on the news. Since you had no
immediate family to speak of, your
photograph was one of the first
released to the public.

Hawking finishes locking the doors and windows, moving back

to the cases, Sayid's eyes following her as she goes.

HAWKING (CONT'D)
Needless to say, she took a personal
day to research your apparent death.

(CONTINUED)
 29.

25 CONTINUED: 25

HAWKING (CONT'D)
But now, because of what you did, the
Swan station was never built. There
was no electromagnetic build-up for
Desmond Hume to lose control of, and
consequently, your plane never crashed.
In fact, it was grounded. Your friends
are still waiting for a flight.

Eloise finishes locking up the cases, sighing to herself as

she finishes. Sayid immediately jumps on her pause.

SAYID
What does this have to do with Nadia?

HAWKING
She never saw your photograph on
that screen. Consequently, she
never took a personal day, and on
the way home from her office, two
hours ago, she was struck down by
a driver in a tragic accident.

Tears well in Sayid's eyes as all hope for happiness with

Nadia is dashed in an instant.

HAWKING (CONT'D)
She was meant to die, Sayid, not to
be with you. No matter what you try
to do, you cannot save her.
(A beat, then:)
So, Mr. Jarrah, I'll ask you one more
time: will you come with me to the back
of the store?

END OF ACT TWO

 30.

ACT THREE

26 EXT. AUSTRALIAN OUTBACK – DAY 26

Hurley's car drives down the road, cutting through the

desert.

27 INT. HURLEY'S CAR – SIMULTANEOUSLY 27

Hurley sits in the driver's seat, barely paying attention to

the road as he thinks about the situation. Joe Purdy's
“Wash Away” plays quietly on the radio.

HURLEY
You're not going crazy . . . it
worked. Nothing happened. You're
going to get back home and everything
will be fine.

Hurley makes a turn and discovers a figure in the distance.

He regards it suspiciously.

HURLEY (CONT'D)
Dude, not now.

Hurley presses forward on the acceleration, drawing closer

and closer to the figure. Sand starts flying up around the
wheels, obscuring Hurley's view as he draws closer to the
figure. After a few moments, Hurley slows down, bringing
the car to a stop and immediately jumping out.

28 EXT. AUSTRALIAN OUTBACK – IMMEDIATELY FOLLOWING 28

Hurley starts coughing immediately, sifting his way through

the sand as he tries to see straight.

HURLEY
Hello? Is anyone out there?

MAN'S VOICE
This must be your first time driving
in the desert, friend.

(CONTINUED)
 31.

28 CONTINUED: 28

The sand clears, and Hurley's eyes widen in shock at the man
in front of him :

JOHN LOCKE. Dressed in a simple white T-shirt over khakis.

And, of course, confined to a wheelchair. Locke smiles
warmly at Hurley, but Hurley can barely believe his eyes.

LOCKE (CONT'D)
Sorry if I got in your way, I was
just getting a feel for the terrain.
You probably haven't heard of them,
but I've signed up for a walkabout tour.
(Off Hurley's look:)
Are you OK? You look like you've just
seen a ghost.

HURLEY
How did you get here?

LOCKE
Excuse me?

HURLEY
You were . . . you were dead, how
could you-

LOCKE
Dead? What are you talking about?

HURLEY
Locke, you were-

LOCKE
Hey, how do you know my name?

Locke looks at Hurley, entirely clueless and a little

suspicious. And now it dawns on Hurley: Locke doesn't
remember what happened. This Locke has never been to the
Island before. As this knowledge sinks in, Hurley wipes
his brow, seriously freaked out.

(CONTINUED)
33.
28 CONTINUED: 28

HURLEY
Uh . . . never mind, dude.

Hurley backs into his car, starting it up immediately.

Locke wheels forward, mystified by Hurley's presence, but
Hurley drives off before he can reach the car.

29 INT. JEWELRY SHOP – BACK ROOM – DUSK 29

Hawking leads a nearly numb Sayid into the darkened back

room, switching on a light to reveal a nearly empty room,
save for a chess table in the center and a few cluttered
desks around the edges.

HAWKING
Here we are.

Sayid shuffles into the room, barely noticing his

surroundings as Hawking turns around to face him.

HAWKING (CONT'D)
I'm sure you have many questions about
what has happened, but I'm afraid we
don't have time to worry about the past.
All we can do now is more forward.

Sayid looks up, tears still welling in his eyes.

SAYID
Move forward? You expect me to just
forget about Nadia?

HAWKING
Why not? You've done it before.

Sayid glares at Hawking, but she shrugs.

HAWKING (CONT'D)
Well, when this happened before you
just turned around and became an
assassin for Benjamin Linus.

(CONTINUED)
 33.

29 CONTINUED: 29

SAYID
How did you know?

HAWKING
It's my job to know.

SAYID
Your job?

Hawking smiles knowingly, moving towards the chess table

and inviting Sayid to sit down. He does so, hanging onto
her every word.

HAWKING
You see, we all have a job in this
world, a purpose. And, of course,
we all have a boss. Mine is a man
called Jacob. And we are both at war.

SAYID
He said that as well.

HAWKING
I'm sure. Of course, I don't think
of it so much as a war, but rather
a game. One with the highest risks
imaginable.
(Re: Chess board)
You see here? Two players. Two sides.
One is light, one is dark. And on
each side, a king that one must capture
in order to win.

Eloise reaches across to Sayid's side, picking up the white

king and twirling it lightly in her hand.

HAWKING (CONT'D)
Jacob is our king, and the enemy has
just forced him into check. We're
now a hair's breath away from checkmate.
But there's always a failsafe, and that
failsafe begins with you.
(CONTINUED)
 34.

29 CONTINUED: 29

SAYID
You want me to save the Island.

Hawking nods silently. Sayid then stands up, leaning over

the table aggressively.

SAYID (CONT'D)
It's an island. A unique one, yes,
but it's just a piece of land.

HAWKING
No, it isn't.

She rises, getting in Sayid's face, not angry, but clearly

making her point.

HAWKING (CONT'D)
Do you know what the Island is?
It's a place where the forces of
this world collide.

SAYID
You're talking about electromagnetism.

HAWKING
I am talking about humanity. Fate
and free will. That is what's at
stake here.

Hawking has clearly made her point and is starting to

convince Sayid, but he backs away, shaking his head.

SAYID
If Jacob is as powerful as you say
he is, if he wants me to do something
for him, why is Nadia still dead?

HAWKING
Death is more powerful a force than
anything any of us can control.

(CONTINUED)
 35.

29 CONTINUED: 29

Sayid shakes his head, moving to the back of the room and
absentmindedly leafing through files. And it's clear on
his face – Hawking is really convincing him. And for Sayid,
a man who has always believed only in what he can see . . .
there's a real change happening here. So now, when Sayid is
so close to actually considering Hawking's offer, she lobs
her final shot over.

HAWKING (CONT'D)
Redemption, Sayid. You, of all
people, have been searching for it
for so long.

Sayid doesn't turn around, but simply closes his eyes,

nodding imperceptibly to himself, realizing that, even
though he may not believe everything Hawking says, he is
willing to accept anything.

SAYID
What do you want me to do?

Now Hawking nods to herself, heading to the back desk and

taking a small leaflet from the top. She then walks towards
Sayid, handing him the leaflet.

HAWKING
History is being rewritten as we
speak, and it is now up to us to
make sure that time doesn't destroy
itself.
(A beat, then:)
I want you to have Oceanic Flight
815 get back to the Island.

And although Sayid should be blown away by this piece of

information, should be shocked at his mission, he simply
nods.

SAYID
Where do I start?

END OF ACT THREE

 36.

ACT FOUR

30 INT. MULLEN HOME – KITCHEN – DAY 30

Kate sits alone on the kitchen table, staring at the window

outside, overlooking the farm ahead. A clock on the wall
ticks slowly by as Patsy Cline's “Walking After Midnight”
plays quietly on the kitchen radio.

Kate's reverie is suddenly broken by the ringing of a

doorbell. Though she doesn't jump, Kate immediately gets
out of her seat, switching the radio off and heading out
of the room to answer the door. After a moment, we hear
her quietly distressed voice.

KATE (O.S.)
Hey . . . No, it's fine. Come on
in.

After another moment, Kate walks back into the room, closely
followed by Jack. The two take a seat at the table, sitting
in silence for a moment.

KATE (CONT'D)
You want some coffee?

Jack looks up at Kate, nearly laughing at her awkward

question.

JACK
No, thanks.

KATE
Thanks for coming out here so fast.

JACK
Of course. Took the first flight
out of LAX.
(A beat, then:)
Have you heard from anyone else?

KATE
No. You?
(CONTINUED)
 37.

30 CONTINUED: 30

JACK
No.

An awkward silence starts again between Jack and Kate,

though they both have countless questions on their mind.

KATE
Why do we remember everything, Jack?
Dan said we wouldn't.

JACK
He said the plane would never crash.
And it hasn't. We don't have to
board it, we don't have to go through
everything again. It worked.

KATE
How do you know that? Flight 815
hasn't even taken off yet.

JACK
And when it does, it'll land in Los
Angeles. We won't even be on it.

Jack looks over at Kate, who's clearly not convinced. He

sighs, once again having to explain himself to her.

JACK (CONT'D)
When we first landed on the Island,
you tried to tell me why you were a
fugitive. And I told you that it didn't
matter who we were. That we should
be able to start over. Now's our chance.

KATE
Something's wrong. I know it, something
didn't go right.

JACK
No. It worked.

(CONTINUED)
 38.

30 CONTINUED: 30

Jack clearly thinks he's closed things up, but there's no

swaying Kate.

KATE
What if it didn't? What if we're
supposed to do something else?

JACK
There's nothing else we're supposed
to do but go on with our lives.
(A beat, then:)
It worked.

Kate studies Jack for a good, long moment, realizing that

there's no convincing him. So, she simply gets up, pouring
herself a cup of coffee and looking out the window. And
now the most awkward moment yet settles between the two,
one that remains unbroken.

31 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 31

The church, exactly as seen in “This Place is Death”,

deserted other than the car that pulls up in front of it.

32 INT. ELOISE HAWKING'S CAR – IMMEDIATELY FOLLOWING 32

Hawking doesn't bother to turn off the car, but instead

looks over towards Sayid, who looks out at the church.

SAYID
This is where I'm supposed to go?

HAWKING
The Dharma Initiative built a station
underground, then constructed a church
over it.

Hawking passes a file over to Sayid, who takes it with

little interest, flipping through it.

(CONTINUED)
 39.

32 CONTINUED: 32

HAWKING (CONT'D)
The purpose of the station was to
find the Island's location. If
history is to be corrected, I need
access to that station's equipment.

SAYID
Who has control of it now?

HAWKING
I believe you know Charles Widmore?

SAYID
So, what do you want me to do?

Hawking nods to the glove compartment, which Sayid opens

cautiously. He sees that it is empty, save a single PISTOL.
He looks back at Hawking, understanding what she wants him
to do.

SAYID (CONT'D)
There has to be an alarm.

Hawking nods, looking over at Sayid's shirt pocket.

HAWKING
In your jacket pocket. What is it?

Sayid takes out a photograph from his shirt pocket,

revealing it to be his photograph of Nadia. Hawking sees
Arabic writing on the back of it.

HAWKING (CONT'D)
What does it say?

SAYID
You'll find me in the next life
if not in this one.

Hawking says nothing, but Sayid understands her words.

After a moment, he takes the gun, getting out of the car
and heading into the church.
(CONTINUED)
 40.

33 EXT. LAMP POST CHURCH – ENTRANCE – IMMEDIATELY FOLLOWING 33

Sayid walks into the church, his eyes kept resolutely

forward. As he reaches the steps, he checks the ammo.

34 INT. SAYID AND NADIA'S BEDROOM – NIGHT – FLASHBACK 34

Nadia walks into the room, dressed in simple pajamas to find

Sayid dressed in an undershirt and boxers, sitting on the
edge of the bed, head in his hands. Immediately sensing
that something is wrong, she walks over, sitting down and
placing a caring hand on Sayid's shoulder.

NADIA
What is it?

Sayid looks up at Nadia, tears welling in his eyes. This is

a private moment for Sayid, possibly more private than we
have ever seen from him. But if he can speak to anyone
about what is on his mind, it's Nadia.

SAYID
Do you really think I'm a good
person?

NADIA
Of course. I love you.

SAYID
How? How can you . . . I tortured
you. I took away your free will.

Nadia pauses, reminded of what she often chooses to forget.

NADIA
That was a long time ago. You
were following orders.

SAYID
I could have left. We could have
left together.

Nadia takes Sayid's head in her hands, turning it towards

her own.
(CONTINUED)
 41.

34 CONTINUED: 34

NADIA
They would have killed us. You
did what you had to do.

SAYID
You want to know what I did on that
island? I tortured a man because I
hated him. I killed four people.
(A beat, then:)
I'm not a good person.

NADIA
Don't say that.

Nadia embraces Sayid tightly. His head on her shoulder,

Sayid closes his eyes, comforted by Nadia's embrace. But
one question still remains in his mind :

SAYID
Are you afraid of me?

Nadia shuts her own eyes.

NADIA
No. I'm not afraid of you, and
you shouldn't be afraid of yourself.

Sayid nods, comforted by Nadia's kind words. And as the two

share a moment, the WHOOSH starts up as we go back to:

35 INT. LAMP POST CHURCH – CHAPEL – NIGHT 35

Sayid enters the room, his eyes landing on a LONE MAN

sitting in the front pew. Sayid looks forward at him, the
raising his gun slowly.

CLOSE UP ON Sayid's face, really thinking about the

situation, about his options, about what he's there to do.
And then, after a moment, Sayid clicks off the safety,
breathing in and out, then SHOOTS. And off the gunshot -

END OF ACT FOUR

 42.

ACT FIVE

36 EXT. TAWARET STATUE – BEACH EXTERIOR – NIGHT 36

The entire camp communicates in hushed, whispers, trying to

find out what's going on. At the edge closest to the
statue, Frank lies on a makeshift stretcher, Richard at his
side. Ilana stands next to them, impatient.

ILANA
Can you do anything more for him?

RICHARD
Not until I know what's wrong with
him.

Ilana bends down, speaking in a near-whisper.

ILANA
(Re: Statue)
Let me go in there. Just me, just
to see what -

RICHARD
(Firm)
No. Not until we get some . . .

Richard is distracted by the sudden appearance of BENJAMIN

LINUS at the entrance to the statue. Richard stands slowly,
facing Ben as the rest of the camp notices his presence.

BEN
Hello, Richard.

RICHARD
Ben, where's . . . where's John?

BEN
He'll be out in a minute. He has news.

The Others stare at Ben with a mixture of apprehension and

fear. Ilana gets a good grip on her rifle, but doesn't
raise it. Richard steps forward.
(CONTINUED)
 43.

36 CONTINUED: 36

RICHARD
Well, I'd like to hear what he has
to say, considering we just found
John Locke's body.

Ben immediately realizes he's been caught in his lie. But,

of course, it's Ben, and this is nothing new. So instead of
panicking or betraying any fear, he simply nods.

BEN
Well, there you have it, Richard. The
man that's in there isn't John Locke.

The camp stares at Ben, shocked at the turn of events. But

he isn't even finished yet.

BEN (CONT'D)
But he is our leader. And now, when
danger is coming our way, we need him
to lead us safely through this Island.

RICHARD
What kind of danger?

BEN
The one that's causing your nose to
bleed.

Richard and Ilana both look at Richard's nose, which, sure

enough, has a small trickle of blood running down to his
lip. Richard quickly wipes away the blood, looking up at
Ben in fear. And off his look, the WHOOSH brings up back
to -

37 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 37

Sayid exits the church, gun in hand, expecting anything.

But he finds the street completely empty, save for the
sound of footsteps growing nearer. So Sayid heads down the
steps, looking over to see :

BEN.
(CONTINUED)
 44.

37 CONTINUED: 37

BEN
Hello, Sayid.

Sayid, though he should reach for his gun, simply steps

forward to meet Ben.

SAYID
What are you doing here?

BEN
I would have expected a little more
sympathy now that you know that you
shot me.

SAYID
It didn't work.

BEN
That's because it wasn't supposed
to work. Nothing that we do works
unless fate allows it to.

SAYID
If that's true, how am I back here?
Jack's plan worked.

BEN
Did it?
(Off Sayid's look:)
What did Eloise tell you would happen?

Although his mind tells him not to listen to Benjamin Linus,

to simply walk away, Sayid cannot help continue the
conversation.

SAYID
She said there was a war, and that we
were fighting for Jacob.

BEN
She lied. Or someone lied to her.

(CONTINUED)
 45.

37 CONTINUED: 37

SAYID
Why should I believe you?

BEN
Because the same exact thing happened
to me.
(A beat, then:)
The . . . man that Jacob is fighting
against . . . he has certain abilities.
He can pretend to be someone he's not.

SAYID
So can you.

BEN
I can't get into someone else's
skin, no matter how much I try.
But he can.

38 INT. HYDRA STATION – HOSPITAL WING – NIGHT – FLASHBACK 38

In “Whatever Happened, Happened”, Ben awakes to find Flocke

sitting next to him.

BEN (V.O.)
He made me believe he was John Locke,
he made poor Eloise believe he was
God only knows who.

39 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 39

Ben picks up the pace as his story reaches a conclusion.

BEN
And he made her believe that sending
you into that church to kill the man
working there would bring your friends
back to the Island. But that's not
going to happen now.

SAYID
And why not?
(CONTINUED)
 46.

39 CONTINUED: 39

BEN
Because, Sayid, that equipment in there
has a entry code that only the man
working there knows. And now that he's
dead . . . the Island can't be found.
(A beat, then:)
He's won. And now the fate of this
entire world . . .

SAYID
Is left to chance.

Sayid smiles to himself. Ben looks at him furiously.

BEN
You think this is a joke?

SAYID
No. I just realized something.

BEN
What?

SAYID
For a long time, I thought that I was
no better a human being than you. But
now I know that's not true.
(Off Ben's look:)
I made my choice.

40 INT. LAMP POST CHURCH – CHAPEL – NIGHT – FLASHBACK 40

Sayid fires his gun, startling the man in the pews. The
bullet hits the floor right next to him as Sayid marches
forward, his gun aimed right at the young man.

YOUNG MAN
Who are you?

SAYID
There's a Dharma station here. I want
you to take me to it.
(CONTINUED)
 47.

40 CONTINUED: 40

The young man is terrified of Sayid, but tries to remain

firm.

YOUNG MAN
There'll be others coming here that'll
kill you if you try to enter.
(Sayid doesn't back down, so:)
Shoot me if you want, but you'll never
get in. There's a code that only I
know.

Sayid moves in, pressing the cold barrel of the gun directly
on top of the man's forehead. He looks up at it, nearly
crying out of fear.

SAYID
Then I suggest you move quickly.

The man looks at Sayid for a split second, then nods,

getting up and heading into the back of the chapel. Sayid,
his gun directly at the man's head, follows.

41 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 41

Ben looks at Sayid in shock as Sayid finishes triumphantly.

SAYID
I'm not a killer anymore.

And while Sayid expects Ben to attempt some new manipulation

or toss some revelation, he simply smiles, nodding at
Sayid's accomplishment.

BEN
Then I thank you.

Sayid walks around Ben, starting back down the street, only
to find Nadia. Standing silently in waiting. Sayid stares
at her in shock, but Ben mournfully to himself.

SAYID
Nadia . . . they said you were dead.
(CONTINUED)
 48.

41 CONTINUED: 41

NADIA
You don't know.

SAYID
What?
(To Ben:)
Know what?

BEN
Jacob has abilities, too. He has
a connection to the world of the
dead that no one else has.

Sayid stares at Ben in confusion for a moment, but then the

realization slowly dawns on him.

42 EXT. JUNGLE – CLEARING – DAY – FLASHBACK 42

And we're back on Sayid, Jin, and Hurley, dressed in their

Dharma jumpsuits, the bullet wound still in Sayid's stomach.

SAYID
Any second that bomb will go off
and . . .

JIN
Whatever happens, happens.

The electromagnetic pulsing once again reaches a deafening

level, surrounding the group. Sayid leans back against the
ground, breathing heavily. Jin leans over, seriously
concerned now.

JIN (CONT'D)
Sayid! Sayid!

But Sayid cannot hear him. His breathing slowly down and
he closes his eyes, dying just before the explosion.

(CONTINUED)
 49.

43 EXT. LAMP POST CHURCH – ENTRANCE – NIGHT 43

Sayid looks back at Ben, tears in his eyes.

BEN
I'm sorry.

Sayid shakes his head, walking away from Ben and over to
Nadia.

SAYID
Now we can go away.

NADIA
Forever.
(A beat, then:)
You are a good person, Sayid.

Sayid smiles, believing those words for the first time in a

long time. After a moment, the two start walking away,
leaving Ben behind. As they turn a corner, Sayid grasps
Nadia's hand softly.

CUT TO BLACK:

END OF EPISODE