LTOG Episode One

8/8/2019 LTOG Episode One

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LOST: The Other Generation

YOU HAVE TO GO BACK

Written by

Kevin Hamilton

FAN FICTION EPISODE ONENo infringement intended October 2010


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EPISODE ONE: "YOU HAVE TO GO BACK"

OPEN on a completely WHITE screen. PANNING OUT, we are able to notice thatwe are viewing a LARGE glowing WHITE light. Its very BRIGHT and encompassesalmost the entire screen.

CUT TO:

INT: A CONTROL TOWER. DAY.

A TIGHT SHOT of a middle-aged MAN standing in a CONTROL TOWER over aninstrumental PANEL of some sort. He also has a MONITOR to his right, displaying aLIVE FEED from a piece of land where a LARGE CRATER exits. The CENTER ofthis crater emits the same BRIGHT LIGHT we had just seen in the close-up. Theman now speaks over a RADIO device.

MAN:

This is Control Tower-1, monitoring the firstdevice test of the Primary Wood-108 Crater.

The man glances at his instrument PANEL. Its apparently a countdown TIMER. Wesee it for FOUR seconds. It reads:

04081513:50

04081513:51

04081513:52

04081513:53

Cut back to show the man, holding his RADIO device.

MAN:Two minutes until we engage the device.

Now CUT to the MONITOR, showing a wide view of this CRATER, with the glowingWHITE light THROBBING in the middle of it. We ZOOM in on the SCREEN slowlyand then POOF.

CUT to a completely BLACK SCREEN. Its dead SILENT.

A TITLE CARD reads THREE HUNDRED AND TWENTY EIGHT YEARS AGO

Screen is still pitch BLACK. Now we can hear the natural SOUNDS of WIND andthe WAVES. Slowly FADING IN after a few moments, we begin to see the familiarSKY from the bamboo FOREST, where the original series both began and ended.

EXT: BAMBOO FOREST. DAY.

After a moment, the camera PANS down to about waist-level and STOPS. Then afamiliar face enters the screen. Its VINCENT. He appears the same as ever.Looking around, tongue wagging. CLOSE UP of Vincent, noticing SOMETHING. A


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STRANGE NOISE in the far distance. Vincents EARS perk up. Then, he quicklyDARTS off towards the sound.

CUT TO:

EXT: THE GOLF COURSE VALLEY. DAY.

The strange SOUND bleeds over the CUT and now we see the source of the sound.A BLUE HELICOPTER with a logo or INSIGNIA emblazoned on its SIDE. Its astylized LETTER H. The propellers are dead. The lifeless helicopter spirals to theground and finally CRASHES. CUT to a WIDE-SHOT, the VALLEY. A serenemusical cue underscores the majesty of the landscape. THE ISLAND. CUT to seeVincent running out into the valley. After a moment, we see Vincent stopping on aHILL. CUT to assume his P.O.V. and looking out from here we can see the crashedhelicopter from a fair distance away.

CUT TO:

EXT: BEACH. DAY.

Vincent emerges from the jungle to the BEACH. We PAN over and see the beautifulOCEAN HORIZON. CUT to see Vincent trotting up the beach, we follow him, untilhe comes to a STOP, PANNING up and over, we see ROSE, sitting and eating fruit.

ROSE:There you are.

She pats Vincent on the head, affectionately. Shes curious.

ROSE:Were you out there making noise, Vincent?What was that?

Vincent appears as if hes trying to lead her out there.

ROSE:No. Im not going on a walk with you, boy.Im too tired. Lets just enjoy the water,okay? Its a good day to be alive.

Vincent continues to insist on leading her into the jungle.

ROSE:Dont you know what today is? Today is theday we almost died.

Vincent looks at her for a moment and then RUNS off the beach. Rose smiles as heexits into the jungle. CLOSE UP on her as she speaks silently to herself. She has aCROSS draped around her neck and clutches it. Smiling the whole time.

ROSE:Well, it was the firstday we almost died.Lucky for me, the good doctor found me.

CUT TO:

We see an open EYE.

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A male VOICE is heard over the image of the eye.

MALE VOICE:And this, of course, is Dr. Jack Shephard.

INT: A CONFERENCE HALL

ZOOMING OUT we see that it is a still PICTURE of JACK, circa 2005 just after therescue. It is projected on a WALL behind this Forty-something MAN who isspeaking at a PODIUM. A quick glimpse of the AUDIENCE shows about 40 or 50people, including some news media, listening to the man speak.

MAN AT PODIUM:And he was the fourth member of theOceanic Six confirmed to have been on

Ajira Flight 316.

Another quick shot of the audience is shown. Specifically we center on an unknownBLACK WOMAN, aged about 65 years.

MAN AT PODIUM:Of course you know all of this but for thoseof you who are wondering who I am and whyIve called this press conference today...myname is Roy Edwards.

The Black Woman is shown again, listening intently.

ROY:And I am the Chairman of Edwards Aircraftbased out of Norfolk, Virginia. (beat) Butmore specifically, I am here because both of

my parents disappeared onAjira Flight 316.The PHOTO behind him switches from Jack to a picture of an AJIRA Flight in mid-air.

ROY:Many of us already know that the mystery of

Ajira Flight 316is directly tied to a mysteryinvolving another plane.

The PHOTO changes to a picture of an OCEANIC plane in flight.

ROY:This was, of course, the crash ofOceanic

Air Flight 815that supposedly happened tenyears ago today. Because of this mystery, Ihave established with my resources what somany families have wanted over these lastten years. An independent search for thetruth.

The PHOTO behind him changes to a picture of a Freighter.

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ROY:This is the ship I am taking to the SundaTrench. (beat) My goal is to send R.O.V.sdown to see if that wreck truly is OceanicFlight 815.

This causes a slight stir amongst the audience.

ROY:Before I take any questions, let me tell youthat I fully understand that this wreck is notour property and is considered a tomb.Second, I will be willing to offer monetaryreward for any information leading to moreverifiable evidence surrounding themysteries of both Flight 815 and 316. (beat)Thus this is why I have established theEleven-Thirty-One Foundation for Truthregarding both planes.

The PHOTO behind him on the projector changes again to a LOGO reading 1131Foundation for Truth, established September 22nd, 2014.

ROY:Now, Ill take questions.

Several REPORTERS jump to ask the first question and their voices overlap,indistinguishably.

CUT TO:

INT: A HALLWAY OUTSIDE THIS CONFERENCE HALL

Roy Edwards is walking away from the main hall after having finished his pressconference. Some associates escort him, as we hear a Womans VOICE call outfrom behind.

FEMALE VOICE:Mr. Edwards? Mr. Edwards?

Roy turns to acknowledge her and we see her. It is the older Black WOMAN we sawin the audience previously.

ROY:Yes?

FEMALE VOICE:My name is Diana Washington.

ROY:Are you with the press?

DIANA:No sir, Im not.

Hes polite but stern.

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ROY:Ive got things to do and people to see Ms.Washington. I dont meant to be rude...

She interrupts him.

DIANA:You said something about a reward?

His eyebrow lifts in surprise. He glances at one of his associates, a BALD MAN.Then smiles.

ROY:For good information, absolutely.

DIANA:How about the name of a survivor of Flight815?

A bit incredulous.

ROY:Well...of course that would be something Idbe willing to pay for. If it checks out.

DIANA:My neighbor, I think her grandson was onthat plane ten years ago.

ROY:And where is he now?

DIANA:I dont know but he comes by every once in

a blue moon.ROY:

Okay...give me a name then.

DIANA:I can give you his real name andhis aliasand I can tell you where his grandmotherlives but...I want the money first.

ROY:Thats not usually how it works.

Shes a strong woman, injecting herself, confidently.

DIANA:Thats the deal, Mr. Edwards.

Edwards then glances at his BALD ASSOCIATE again and back to her, half-chuckling to himself.

ROY:Okay. I guess Ill bite. Why dont we do halfup front and half when I get the information?

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The woman reaches in her PURSE and pulls out a PEN and a note TABLET. Sheprepares to begin writing, looking up at him.

DIANA:I need a phone number. When youvedeposited the money, Ill tell you what Iknow.

CUT TO:

EXT: A GRAVEYARD. DAY.

From a distance we see A BLONDE WOMAN, about nineteen or twenty years oldby herself in a GRAVEYARD. Shes sort of tall and slender. We cant see theinscription on the HEADSTONE shes standing over. CUT to see her UP CLOSE.Pretty face, tears rolling down her cheeks. Shes upset and glancing around as ifshes looking for someone.

CUT TO:

INT: A DINER. DAY.

This same Blonde Woman is now sitting in a sparsely populated DINER drinkingsome COFFEE, seated by herself. There is a TELEVISION turned on, hanging neara wall and she briefly looks up at it. The WAITRESS who is working behind thecounter notices her look up at the television.

WAITRESS:Want me to change the channel for ya?

Somber and upset.

BLONDE WOMAN:No, its fine.

The Waitress notices shes distressed.

WAITRESS:Something you want to talk about honey?

BLONDE WOMAN:I just...I was hoping to meet someone andthey didnt show up.

WAITRESS:Did some guy stand you up?

BLONDE WOMAN:No. (beat) I was looking forsomeone. Theywerent looking for me.

This Blonde Woman now looks over at the television, a NEWS SEGMENT ishighlighting the Tenth Anniversary by showing footage of the crash in the SundaTrench. The Waitress speaks to her in VOICE OVER as we view the footage on theTV.

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WAITRESSS VOICE:Oh, I see. (beat) Looking for a man?

She breaks away from the TV to respond to the waitress.

BLONDE WOMAN:No. I was looking for my mother.

WAITRESS:Well, why couldnt you find her?

The Blonde Woman looks again at the television.

BLONDE WOMAN:Something got in the way.

The Blonde Woman stands up and throws a few dollars on the counter. We CUT tosee the television displaying more footage, this time of the Oceanic Six pressconference. We ZOOM in as the R.O.V. footage seen in the episode ConfirmedDeadis broadcast again. A VOICE-OVER from the TV is heard.

MALE VOICE ON TELEVISION:...and just this morning a business man fromVirginia named Roy Edwards has addedfurther fuel to the fire of the conspiraciesrelated to this matter by announcing aprivate investigation...

The voice FADES out as the scene switches.

CUT TO:

EXT: A BENCH ON A STREET. DAY.

The same Blonde Woman is shown sitting on a BENCH, with a cell PHONE stuck inher ear. Its ringing, she speaks but we cant hear the other end of the conversation.

BLONDE WOMAN:Hey.

Pause for the other silent end of the conversation.

BLONDE WOMAN:Im sorry I had to do this. (beat) I knoweverything youve done for me.

Another momentary pause for the other end.

BLONDE WOMAN:She didnt come but Im still going to try andfind her.

She listens.

BLONDE WOMAN:Thank you for understanding. (beat) I loveyou.

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CUT TO:

INT: AN OFFICE. DAY.

We follow a heavy-set MAN as he walks over and sits across a DESK from theBlonde Woman in a small office.

BLONDE WOMAN:Thank you for meeting me on short notice,Mr. Turner.

He comes off a little smarmy.

TURNER:Well, if you got the money, I got the time.(beat) So what kind of investigating do youwant me to do? You got a cheatingboyfriend or what?

BLONDE WOMAN:

No, I want you to find my mother. Her namewas Mary Durham. She might be remarried.

TURNER:And you lost track of her, how?

BLONDE WOMAN:I was adopted...but not legally.

TURNER:Okay.

BLONDE WOMAN:

But she was still living here in SouthernCalifornia up until six or seven years ago.

TURNER:Okay then, I got her name, now give meyour name and your birth-date.

BLONDE WOMAN:This is completely confidential, right?

TURNER:Absolutely.

BLONDE WOMAN:I was born May 11th, 1995. (beat) My birthname is Emma Durham. My adopted nameis Emma Hume.

CLOSE UP on her face.

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CUT TO:

TITLE CARD SEQUENCE: THE TRADITONAL FLOATING LOST, FOLLOWEDBY TEXT SLOWLY FADING IN: THE OTHER GENERATION, WHICH ISPUNCTUATED BY A NEW STRANGE SOUND.

ACT TWO

INT: A BEDROOM, EARLY MORNING LIGHT.

The barely rising SUN breaks through a window as we can see a PERSONunderneath some covers lying on a bed, sleeping. Suddenly a KNOCK on thebedroom door wakes the person. A LAMP sitting next to the bed on a nightstand isswitched ON. We now see that its a MAN from the back, dark hair. He turns aroundand we ZOOM in on his face. BENJAMIN LINUS. Appearing slightly older. Having

just awakened, he speaks, half-asleep.

BEN:What did one snowman...

He YAWNS and before he can finish the question, we hear the DOOR opening. Wehear another male VOICE.

MALE VOICE:...say to the other snowman?

Ben looks up to him as if to say, I knew it was you. We CUT to see the man who isspeaking. Its HUGO REYES. Looking exactly the same as always. Ben deadpans.

BEN:Youre the one whos supposed to answer

the question. Thats the Dharma way.

HURLEY:Smells like carrots, dude.

BEN:Why are you waking me up so early?

HURLEY:Do you know what day it is right now back inthe States?

Ben is tired and sarcastic.

BEN:Not really. Christmas?

HURLEY:It is the tenth anniversary of our crash.

Ben, lying in the bed, deadpans again.

BEN:Congratulations.

Hurley sits in a CHAIR nearby. After a beat, he speaks.

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HURLEY:Morning news brief...Rose says she heardsomething weird yesterday.

BEN:Did Vincent find a lady-friend in the jungle?

HURLEY:Who knows? (beat) I also wanted to let youknow that Walt left a few nights ago.

Ben is now seated upright in the bed.

BEN:What do you have him doing now?

HURLEY:Actually its something he wanted to do.

BEN:I appreciate the update and all but why

couldnt this have waited a few hours so Icould actually wake up?

Hurley is suddenly more focused, serious.

HURLEY:Thats not why Im here. (beat) Im herebecause someone is looking for the Island.

Ben is certainly more alert now than before.

BEN:What makes you think that?

HURLEY:Walt just told me. Apparently he heard someguy is going out to see that fake plane.

BEN:I wouldnt worry about it.

HURLEY:I dont know, Ben. In the time since Jackdied and everyone left, this is the first thatIve actually feel a little scared. Itslike...The Islandis trying to tell me

something.

Ben is skeptical, yawning.

BEN:Are you sure its The Island or maybesomething you ate?

HURLEY:Look, Im being serious, dude. If they find ushere, theyre going to want to know all sorts

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of things. (beat) And theyre going to want tobring people here...and theyre going toforce me to make decisions I dont want tomake.

BEN:What are you suggesting?

HURLEY:I dont know. Maybe when Walt getsback...we move it.

BEN:Thats extremely risky.

HURLEY:But...if something wanted to fight us andtake us over, what else are we supposed todo?

BEN:Wed think of something else that doesntinvolve moving it.

HURLEY:All right man, but I dont know what...I knowyouve vowed never to kill again. And Im nota killer, Rose, Bernard, Walt...none of us areprepared to defend this place.

BEN:Who says we would ever have to kill

anyone?HURLEY:

Youknow, Ben...dont tell me that back inthe day, that you werent worried whenpeople just showed up from out of nowhere.

Ben sits in a knowing silence.

HURLEY:I woke you up because I want you to tell mewhat to do. Something is going to happen,Ben. I can feel it. So, should we just let them

find it or what?BEN:

The old me wouldve had a plan already.(beat) Look, if we need to make calls webetter do it now. Because were going tohave to block the signals.

Ben finally stands up and exhales.

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HURLEY:Ive asked you this before but...how easywould it be for them to find us?

BEN:Its like Ive always said...its hard to explain.

HURLEY:Well, try. Please.

BEN:All right, I dont totally understand it...butthere is a window that you use to go to andfrom the Island.

HURLEY:Yeah, I got that much.

Ben reiterates. Annoyed (playful).

BEN:

There is a window and within it there are fiveconsecutive bearings. Only one of them istotally safe to go through. There are twobearings on either side of the safe one, ifyou enter the Island from them, youll getthrough but there will be...complications.

HURLEY:Complications?

BEN:Yeah. And thats about all I know about it.

We never tried anything but the safe route.(beat) So with some considerable effort, onecould find the Islands general location andeventually find that window. But to find theright bearing and not have complications...

HURLEY:I dont understand. If they can find thewindow, cant they just try each one of thosebearings?

BEN:

No, the complications are...its time travelstuff, Hugo.

HURLEY:Okay then, lets skip it.

BEN:The point is, if someone wanted to try hardenough, they could find us. Its difficult butnot impossible.

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HURLEY:If not these people then maybe someoneelse? Right? So really its just a matter oftime?

Ben gently nods affirmative. Hurley is troubled.

HURLEYThis was gonna happen sooner or later. Iknew it.

BEN:It had to have been Jacobs dilemma. Howcan you not be forced to drag other peopleinto this mess? (beat) So what do you wantto do right know?

HURLEY:Im going to go call our priest.

CUT TO:

EXT: A CAR PARKED OUTSIDE, IN THE STREET. DAY.

We see inside a CAR parked outside on the street. Roy Edwards sits in thepassenger seat and thumbs through a series of PAPERS and PHOTOS that arecontained in a folder. The driver is the Bald Associate we saw him speaking withearlier. His name is MOONEY.

ROY:Are you ready to go see Keith Johnsons

grandmother?MOONEY:

Yes sir, I think weve gone over it enoughtimes.

ROY:Okay Mooney. Dont let me down.

MOONEY:What about the other lead?

ROY:Ive sent Carlos over to check on it. (beat)Who knows? We might find out somethingreal interesting, real soon.

Edwards grins at Mooney and Mooney then exits the car.

CUT TO:

INT: GRANDMOTHER DAWSONS APARTMENT. DAY.

Mooney now sits at a kitchen TABLE, politely waiting, as we now see across from

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him, GRANDMOTHER DAWSON, several years older than we last saw her.

GRANDMOTHER DAWSON:So you were one of his teachers?

MOONEY:Cliff Mooney. I taught him when he was herein New York. Eighth grade. He was one ofmy favorite students, Mrs. Dawson.

GRANDMOTHER DAWSON:Please, call me Gloria.

Mooney warmly smiles at her.

MOONEY:Okay, Gloria. (beat) As I said earlier, I dontmean to bother you. I just wanted to know ifyou knew how I could get in contact withhim.

She sighs and looks embarrassed.

GLORIA:As you probably know he had some...issues.And so I sent him to California for help buthe never finished school out there. He ranaway.

MOONEY:Thats a shame. I thought he was anexcellent student.

GLORIA:Yeah. His mind was always elsewhere. Hewas 16 when he ran away and Ive onlyseen him a few times since then.

MOONEY:Do you mind if I ask about his father? Yourson?

Shes appears slightly suspicious now.

GLORIA:You know who his father is?

MOONEY:Yes, he confided in me at school.

GLORIA:His father was a confused man. A goodman...but he had problems.

MOONEY:He died in a plane crash?

She looks at him suspiciously again. Surprised.

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GLORIA:Excuse me?

MOONEY:Thats what Keith told me.

Shes very hesitant to address it, dismissive.

GLORIA:Keith was talking about his uncle...my otherson, Michael Dawson. Keiths father andMichael were half-brothers. (beat) Look, ifKeith ever comes by, I can give him yourphone number.

MOONEY:I would appreciate that.

Mooney stands up, handing her a CARD with his number written on it. Just beforehe leaves he stops and turns to her, glancing over at a PHOTOGRAPH hanging on

the wall.MOONEY:

Gloria?

GLORIA:Yes?

MOONEY:Is that his father over there?

Mooney points to a picture, we see it, clearly it is a photo of MICHAEL DAWSON.

GLORIA:

Thats Michael. Keiths uncle. Hes the onewho died in a plane crash.

MOONEY:Oh, I see. (beat) Do you mind if I ask...didhe have any children?

Shes now visibly upset by the question and is just ready for him to leave.

GLORIA:Ill let Keith know you came by, Mr. Mooney.

CUT TO:

INT: TURNERS OFFICE

We see the Private Investigator from earlier, Turner. Hes sitting in his office byhimself. Suddenly the door swings open and we CUT to see a middle-aged LatinoMAN, dressed in a business suit, walking in the door.

TURNER:What can I do for ya?

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LATINO MAN:My name is Carlos Herrera. I work for the1131 Truth Movement. I believe you spokewith my boss, Mr. Edwards?

TURNER:Oh yeah, of course.

Turner reaches into his desk and pulls out a FOLDER.

TURNER:Here it is. (beat) As soon as I foundout...after I picked my jaw up off the floor, Iremembered that press conference lastweek. (beat) So, wheres my reward money?

CARLOS:Youll get your money after I speak to thewoman.

TURNER:Her cell phone number is written on the frontof that file.

Carlos looks at the file folder and reads the number. With his right hand he clutchesa PHONE, dialing. It begins to RING. Then, He reaches into his coat pocket with hisleft hand and pulls out an ENVELOPE. The phone is answered.

CARLOS:Hello Mrs. Hume, I am with Mr. Turnersoffice, I am going to be bringing your file byto you.

Carlos places the envelope on the desk, and keeps his left hand on it. We seeTurner look up at him, anxiously, as Carlos listens to Emma on the other end.

CARLOS:Great. I will see you at your hotel room then,shortly.

Carlos hangs up the phone.

CARLOS:Are there security cameras in this building?This has to violate some kind of law.

TURNER:Ill erase todays video, dont worry about it.Just give me my damn money.

Hes forceful and slightly intimidating here.

CARLOS:I want to see you erase it.

We now CUT to the BACK ROOM, where the security MONITOR shows livefootage. Turner walks in and extracts a digital VIDEOTAPE. Carlos followed behindhim, carrying the envelope of money in his hand. Turner shows him the tape.

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TURNER:Here, just take it with you.

CARLOS:Okay then, I guess its time to pay you off.

Carlos extends his hand, carrying the money, towards Turner. With his other handCarlos reaches into his jacket and pulls out a silenced PISTOL. Turner immediatelyappears startled. Carlos is not pointing the gun at him just yet.

CARLOS:Did you tell anybody else about what youfound?

TURNER:Of course not!Information is money in mybusiness. Now put that damn gun away!

Carlos stuffs the envelope back in his jacket, still wielding the gun. He gives Turnera menacing look.

CARLOS:Some information is worth a hell of a lotmore than money.

Carlos aims the gun at his forehead and SHOOTS him. Turner is KILLED instantly.Carlos sticks the gun back in his jacket. He grabs the videotape, which had fallen onthe floor and clutches it in his hand. We CUT again to see the main OFFICE. On theway out, Carlos grabs Emmas FILE that was still sitting on Turners desk.

ACT THREE

INT: A HOTEL ROOM IN LOS ANGELES, NIGHT.

Emma sits on a bed, dressed, checking her WATCH as she exhales. Shes anxious.A TV is turned on but shes not paying attention to whats on the screen. After amoment, a KNOCK is heard at the door. She looks up with anticipation and headsto answer it. As she opens the door we see Carlos standing there with the FILE inhis hand.

CARLOS:Hello there.

EMMA:You must work for Mr. Turner?

CARLOS:Yes. Hes busy at the moment, so hehanded your case over to me.

EMMA:He told me that this was going to beconfidential.

CARLOS:Relax, only he and I know whats in here.

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Carlos motions with his hand, which carries the file.

EMMA:Okay...come in.

We CUT to see them sitting around a TABLE inside of the hotel room. Carlos stillhas the file in front of him.

CARLOS:Should I call you, Ms. Hume or or Ms.Durham?

EMMA:Just call me Emma.

CARLOS:Okay. (beat) Emma, we both know there aresome big secrets exposed in this file.

EMMA:Thats why it has to be confidential. (beat) I

was never supposed to say anything aboutit. My father...my adoptedfather, told me toalways keep it a secret.

CARLOS:Your adopted father, was he on that planetoo?

EMMA:No. (beat) Look, I really dont feelcomfortable talking about it. I just ask thatyou please keep all of this to yourself.

CARLOS:Im a professional, Emma. This conversationis between us, and this file, will be in yourpossession shortly.

EMMA:Ive got the money.

Emma reaches below the table and brings up her PURSE.

CARLOS:Emma, Im not interested in your money.

Shes taken aback by this statement.

EMMA:Excuse me?

CARLOS:Ill hand you this file, free of charge, if you

just honestly answer a few questions for me.

EMMA:I told you I wasnt comfortable talking about

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any of that.

CARLOS:If you want to know where your mother is,then just answer a few questions for me, itwill be harmless.

Her voice raises slightly.

EMMA:I hired Mr. Turner to find her location. Ill paythe money. Please, just give it to me.

Emma reaches into her purse and pulls out her WALLET.

CARLOS:How many people survived that crash?

Emma stops digging in her purse. She is quite surprised.

CARLOS:

Please Emma...dont you understand that allof those families...all of those people whodidnt come back, dont they deserve sometruth?

EMMA:Its not my responsibility.

CARLOS:How many of you are left?

Shes clearly growing more aggravated with him.

EMMA:

Look...I just want to find my mother, okay?

Carlos then pulls out his SILENCED PISTOL and places it on the table, with hishand resting on top of it.

CARLOS:I dont want anything bad to happen to youor your family.

With his other hand, he lifts up the file folder and gestures with it.

CARLOS:Ill hand you this folder after Im done. Thats

all I want.Emma is clearly shocked by this turn of events. She begins to get emotional.

EMMA:Please, just put that gun away...I cant evenstand the sight of them.

CARLOS:How many survivors were there?

Emma, quite distressed, finally concedes.

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EMMA:There were a bunch of survivors but almostall of them are dead.

CARLOS:How many are still alive?

EMMA:I dont know...honestly.

CARLOS:Is Walter Lloyd still alive?

She pauses for a moment. She seems sincere.

EMMA:I dont know him. There were survivors butall the people I knew from that plane aredead.

CARLOS:

Emma, I know Walter Lloyd is alive. I waschecking to see if you were going to lie tome.

Carlos now puts the gun back in his jacket, displaying a creepy smile.

CARLOS:So you were on that Islandwerent you?

EMMA:Yes.

CARLOS:

How did you get off of it?EMMA:

My father and I left on a boat. It was just thetwo of us.

CARLOS:When you left, how many people do youknow for certain were still on that Island?

EMMA:I only saw three or four, I guess. Its hard toremember.

Being a complete jerk.

CARLOS:Your brother died in the crash, do youremember that?

The question clearly upsets her even more so.

EMMA:He died after the crash.

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CARLOS:You dont seem to know much. Maybe Ishould stick a gun in your fathers face andask him.

EMMA:Please, I am being honest with you.

Everyone I knew on that Island is dead. Ididnt even know my adopted father until hebrought me home.

Clearly frustrated with her.

CARLOS:Fine. One more question and Ill hand youthis file.

A teary-eyed Emma looks up at him as if to say, just get this over with.

CARLOS:

When you left the Island, where was the firstplace you went?

EMMA:What?Are you trying to find it?

CARLOS:Well, of course. Answer the question. I knowyou were old enough to remember, now tellme.

EMMA:I think it was Wake Island.

CARLOS:Thank you.

Carlos stands up and tosses the folder in front of her. With these words, he isproving to be quite a dick.

CARLOS:Your mother is dead. Shes buried in thesame place that you and your brother aresupposed to be buried.

Emma is defiant and emotional, standing up.

EMMA:Thats not true! I went out there on theanniversary of the crash hoping she wouldshow up! She wasnt buried there!

CARLOS:Shes buried under a married name youwouldnt have recognized. Its all in your file,Emma.

Carlos promptly turns around to leave. A very emotional Emma screams behind him

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as he walks out.

EMMA:You dont want to go to that Island! That

place is death!

Emma glances down to the table, where the file folder rests. She places her handover her face and begins to sob.

CUT TO:

EXT: AN AIRPORT, DAY.

We see a logo on a wall. OCEANIC AIRLINES. ZOOMING OUT, we now see afemale Oceanic EMPLOYEE behind a counter. Shes typing on her computer whenSOMEONE unseen approaches.

OCEANIC EMPLOYEE:Yes sir. Ill be with you in one moment.

The camera faces the woman from the point of view of the unseen MAN who hasjust walked up. We hear his voice.

MANS VOICE:Take your time, maam.

After a moment or two, shes finished and looks up.

OCEANIC EMPLOYEE:What can I help you with, sir?

MANS VOICE:Need a round-trip ticket to New York City,please.

OCEANIC EMPLOYEE:Okay, and your name?

MANS VOICE:Keith Johnson.

CUT to reveal a 20 year old WALTER LLOYD, going by his alias.

CUT TO:

EXT: NEW YORK CITY STREET, NIGHT.

Mooney, the bald assistant to Roy Edwards sits outside in a CAR, watchingGrandmother Dawsons house. Hes by himself and has a PHONE to his ear andconverses to an unheard party.

MOONEY:When did you say he called again? Ivebeen waiting for two hours.

Waits for response.

MOONEY:Maybe he got stuck in traffic. Keep

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monitoring her phone and let me know whatyou hear.

Mooney hangs up his phone and looks down over to his empty passenger seat, hereaches down and pulls up a PICTURE, we see the picture. Its a teenage Walter.There is text on the photo that reads SANTA ROSA PATIENT #8108 Keith RayJohnson. He takes a good hard look and lays it back down in the seat.

He reaches into his jacket and pulls out a cigarette CASE. He flips it open, removesa cigarette and places it in his mouth. As he reaches for a LIGHTER, he looks UPthrough his windshield and stops dead in his tracks. He grabs the unlit cigarette andthrows it in the floor of his car. Reaching again for the PICTURE. He looks at it, thenthrough his windshield. He tosses the picture and opens the car door.

CUT to see a cab driving off and then WALTER, walking up the street. He has aluggage BAG with him. Walter takes a few steps towards his Grandmothersapartment and hears a voice.

MOONEYS VOICE:Excuse me, sir?

Walter stops on a dime and looks back over his shoulder. We now see Mooney,smiling at him.

MOONEY:Im sorry to bother you, but I need to speakwith you for a moment.

WALTER:What is it?

MOONEY:My name is Cliff Mooney. I was wondering if

you could help me out.

WALTER:Im not really from around here.

MOONEY:The families want to know.

Taken aback, clearly.

WALTER:Excuse me?

MOONEY:

All those people who died...they havefamilies. They need to know the truth.

WALTER:Who the hell are you?

Mooney takes a few more steps towards him.

MOONEY:I work for a man named Roy Edwards. Hisparents disappeared on the Ajira Flight.

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Walter shows a look of recognition.

MOONEY:And he just wants some answers, some realtruth.

WALTER:I dont know who you think I am but...

He interrupts.

MOONEY:Cmon, Walter. Youre pretending to be yourfathers nephew. Just help us out, we dontwant anything more than the truth.

Walt throws his baggage down and takes a few steps towards Mooney, confrontinghim. Hes surprisingly acting tough.

WALTER:My cousin Walter is dead and youre

disrespecting our family by being herecamped out in front of my grandmothers.

MOONEY:Its not going to stop Walter. Mr. Edwards isgoing to prove that the plane in the SundaTrench is fake and finally the truth will seethe light.

Walt is again, uncharacteristically tough here.

WALTER:I want you to leave my family alone. Do youunderstand me?

MOONEY:You could make all of this so much easier

just by telling me what happened.

Walt gets right in his face.

WALTER:You have no idea what I am capable of.Consider this your warning, Baldie.

Walt turns around and heads towards his Grandmothers place. Mooney notices

that a MAN nearby sitting on a stairway is looking at them. He calls after Walt in aloud voice as if to deflect the conflict they just had to the man on the stairs.

MOONEY:Okay then. Ill catch up with you later, Mr.Johnson.

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CUT TO:

INT: A CATHOLIC CHURCH, DAY.

A 30-something year old PRIEST is seen walking briskly through a church when hesees an older WOMAN sitting in a pew. Subtitles are shown on screen.

PRIEST (IN SPANISH):Im sorry, were you here to see him?

WOMAN (IN SPANISH):Yes, Im supposed to meet him at Noon. Im

just here early.

PRIEST (IN SPANISH):I would go ahead and get him for you but Imafraid he has an emergency phone call.

CUT to see this same Priest walking in a back ROOM as he sees another unseenMAN, seated, reading a BOOK that covers his face. The book is The Hammer of

Godby Arthur C. Clarke. The Priest calls out to him.

PRIEST (IN SPANISH):Father, you have an emergency phone callout in the front.

This MAN now drops the book down and we see him. Its RICHARD ALPERT. Hesa priest. He has a little bit of gray hair after having actually aged for the last sevenyears. He has a very puzzled look in his face.

ALPERT (IN SPANISH):Emergency?

CUT to see Father Richard Alpert in a small ROOM, taking a seat, he reaches forthe phone and speaks.

ALPERT (IN SPANISH):This is Father Alpert.

CUT TO:

INT: BENS OLD HOUSE AT THE BARRACKS

We see Hurley on the phone in Bens old secret room. Ben sits in the room withhim.

HURLEY:Dude, Im going to talk in English becauseBens right here.

Richard shown, putting his hand on his forehead. He deadpans.

ALPERT:Dont call me dude.

HURLEY:Right...sorry, Father.

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ALPERT:What is it, did you accidentally create asmoke monster?

HURLEY:Not yet. Did you hear about that guy whoslike...searching for the Island?

ALPERT:What else is new?

HURLEY:We kinda dont know what to do.

Father Alpert is casual.

ALPERT:You defend it, Hugo. Isnt that what youagreed to do?

HURLEY:

I know but...none of us want to hurtanybody.

ALPERT:Neither did Jacob.

HURLEY:So what would he have done?

ALPERT:Apparently he brought all of you there toprotect it...at least thats my understanding. Ionly had a hundred and forty years to figureit out...might take me another hundred tofinally piece it all together.

HURLEY:Are you saying we should bring people?

ALPERT:Im not telling you what to do. Im telling youmy understanding of the quandary Jacobwas in.

HURLEY:

How did he choose them?ALPERT:

I have no idea.

Hurley looks at Ben, hes unsure of what he should be asking.

HURLEY:So...how did he make you like...not age?

Alpert lightly chuckles to himself.

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ALPERT:You ask me that every time weve spoken,Hugo. The answer is always the same. Hetouched me. I dont know how it works, but itworked. (beat) Shouldnt you at least beblocking the signals from the Island?

HURLEY:Yeah. Im working on it.

ALPERT:Well lets just hope nobody is monitoring thatpart of the Ocean. (beat) Look, maybe youshould just recruit them. Allow them to maketheir own choice.

HURLEY:But who would we pick?

ALPERT:

Anyone willing to come.

HURLEY:Okay dude...I mean, Father. I dont want tobe on the phone any longer, so, thanks fortalking to me and stuff.

ALPERT:Good luck with everything, Hugo. Justremember that you arent alone, Ill pray foryou.

HURLEY:Thanks, Father.

Hurley hangs up the phone as Ben just stares at him.

BEN:What did he say?

HURLEY:I think were going to have to do what wewere dreading.

BEN:Thats going to be tough. (beat) Where

should I start?

HURLEY:Just do whatever you did to get all of us tocome back to the Island...its time for someof yourscheming. (beat) I mean, except forthe murdering part.

BEN:I suppose I can do that. I know some people

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off the Island but...its going to take moneyto convince them. And I cant exactly stealfrom Charles Widmore anymore.

HURLEY:I got some money, dude. I dont know howmuch is left, but it should be enough.

BEN:What if it isnt?

HURLEY:Youd have to go see Desmond.Hes like...rolling in it.

BEN:Yeah but I sort of tried to kill him once.

HURLEY:Well, maybe you can tell him that youre

sorry then.Ben and Hurley share a sincere moment.

ACT FOUR

INT: A DARK OFFICE AT NIGHT.

An unknown MAN, maybe forty-five or fifty years old with bright blue eyes, sits in achair with a cigarette in his mouth, there is another fairly large MAN in the room withhim. A BUZZER on the mans desk phone is heard. He answers it. He speaksEnglish with an accent.

BLUE EYED MAN:Yes, Dorothy, send him in.

After a moment the door swings open and we see CARLOS enter, carrying somepapers.

BLUE EYED MAN:How are you Carlos?

CARLOS:I am well, Mr. Hanso.

Mr. Hanso turns to the MAN in the room with him.

MR. HANSO:Please excuse us, Peter.

Peter leaves the office and Hanso motions for Carlos to have a seat. Carlos sits andhands over the papers, they converse.

MR. HANSO:So what have you found for me?

Hanso places his hand on the papers but doesnt bother to look though them yet.

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CARLOS:Weve located a survivor of Flight 815.

MR. HANSO:I trust youre not talking about the man thatEdwards is already following.

CARLOS:No sir. We found two of them. This one is afemale. Her name is Emma Durham.

MR. HANSO:The name rings a bell. What did she tell us?

CARLOS:She told me that when she left there wasonly a handful of people there and the firstplace they stopped was Wake Island.

MR. HANSO:

Good. The Ajira flight landed at MarcusIsland...so we are making progress towardstriangulating a location.

CARLOS:You can read the rest in those papers.(beat) So what now?

MR. HANSO:How much of this does this Roy Edwardsknow?

CARLOS:

He knows nothing about the girl. Edwardssent me over there to check it out and Icalled him back an hour ago and told him itproved to be a false lead. I copied the PIsfile, gave the girl the original and then killedthe PI.

MR. HANSO:Doesnt that make youa wanted man?

CARLOS:I was just controlling the information.

Besides that, I thought thats where youwould come in and cover my ass. After all,that means the police are going to bebarking up Roy Edwards tree after they findout he was connected to a man who was

just murdered.

MR. HANSO:Pretty clever, Carlos. (beat) The woman,where is she staying?

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CARLOS:She was at the Temple Inn in Santa Ana.Shes staying under the name, EmmaHume. She was still there as of two hoursago, I didnt think she was of much use foranything else.

Hanso reaches over to press the intercom on his phone.

MR. HANSO:Dorothy, will you please send Peter back in?Also, you can go home for the evening, welllock up behind you.

DOROTHYS VOICE:Yes sir.

Peter, who appears to be some kind of security goon for Mr. Hanso, is an imposingman. He walks in the door and stands directly behind Carlos.

MR. HANSO:Peter will see to it that you are taken care of.

CARLOS:So thats it? Thats all you needed for ahundred thousand dollars?

MR. HANSO:All you need is to find one person thatsomeone is invested in. You dont have toknow the someone. You just have to knowthat this someone is there.

CARLOS:How do you mean?

MR. HANSO:What I mean is, if she survived that planecrash, then survived that Island, and foundrescue and refuge, then certainly she didntdo it all by herself.

CARLOS:Her fathers name and location are in thefile.

Hansos demeanor changes. Hes angry.

MR. HANSO:Youre still not getting it, Carlos. We needthe girlto make the father talk. Otherwise,what use is he? This is an amateur mistake.Im very disappointed you left her behind.

CARLOS:Well, I can go back and get her, how much

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money are you willing to pay me to do it?

MR. HANSO:Never mind that. Im going to let Peter payyou right now for the services youve alreadyrendered. (beat) Peter?

Just then, Peter pulls out a CORD and begins to STRANGLE Carlos. Aftermoments of kicking and struggle, the menacing Peter extinguishes the life out ofCarlos. He releases the cord and Carlos lies dead on the floor. Subtitles are used.

MR. HANSO (IN DANISH):Get rid of the body. Make it quick, weregoing to grab the girl before she gets out ofour sight.

CUT TO:

INT: MORNING. GLORIA DAWSONS APARTMENT.

Walter sits on a couch, eating some food, watching television. His Grandmotherenters the room.

GLORIA:Good morning, sweetheart.

WALTER:Morning, Grandma.

GLORIA:You were so tired last night, I forgot to askyou, how long are you planning on staying?

WALTER:Ive got a return ticket to LA in two days.

She notices he is snacking on some junk food.

GLORIA:Whatare you eating? Just hold on, Ill fixyou a good breakfast.

WALTER:Its okay, Grandma, I dont get to eat like thisvery often.

GLORIA:Ill have none of that. You need a goodbreakfast.

As she heads to the kitchen area, she stops.

GLORIA:Are you ever going to tell me where youvebeen?

WALTER:Yes, I will. One of these days.

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GLORIA:I wont be around forever, you know?

WALTER:I know.

She heads into the kitchen to fix some breakfast, speaking to Walt. We stay on him,as hes sitting on the couch.

GLORIAS VOICE:You know...some man came by here lookingfor you not long ago.

WALTER:What?

GLORIAS VOICE:Some man, he said he was one of yourteachers. I didnt know whether to trust himor not.

WALTER:What did he say his name was?

GLORIAS VOICE:I have his card.

Gloria exits the kitchen and walks over to the refrigerator, where she extracts thebusiness CARD from under a magnet.

GLORIA:Here you go, honey. He wrote it on the backof this card.

Walter takes the card and reads what we can now read, in a CLOSE UP. Its a handwritten card that reads Cliff Mooney, followed by a phone number.

GLORIA:Do you know him?

He doesnt really know how to answer, hesitant.

WALTER:Uh, yeah.

GLORIA:Im gonna go ahead finish this breakfast,you want eggs?

Clearly stirring in his thoughts.

WALTER:Yeah, Grandma, thatd be great.

CUT TO:

EXT: CENTRAL PARK. DAY.

Walter now sits on a BENCH in Central Park, NYC. His head is on a swivel as we

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can tell that hes clearly expecting someone. Finally, his gaze locks in on a target.And then we CUT to see the target hes looking at. Its Mooney.

MOONEY:Thank you for meeting me.

WALTER:Do I really have a choice?

MOONEY:Yes, you always have a choice. (beat) Mindif I have a seat?

Mooney sits next to him, Walt is clearly uncomfortable.

WALTER:You work for Edwards, right?

MOONEY:Yeah, I know. You probably heard throughthe grapevine about what happened in Los

Angeles?

WALTER:You people are murderers?

MOONEY:Absolutely not. I think maybe someone justrobbed that private eye or something. Mr.Edwards has good lawyers, nothing to worryabout.

WALTER:Lets assume I believe you so you can justget to the point.

MOONEY:The point is real simple, Walter. We justwant to know what happened to all of thosepeople on both of those planes.

WALTER:Are you wearing a wire?

Mooney chuckles, then takes off his jacket.

MOONEY:

Feel free to pat me down, do whatever youwant.

Walt shakes his head in frustration.

WALTER:Eh, whats the use? (beat) Look, I dontknow anything about the plane thatEdwards parents were on, okay? All I cantell you is, all of those people are dead.

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MOONEY:If you dont know anything about that plane,how do you know they are dead?

WALTER:Because I know where they all died. If theywere alive, Id tell you right now. Id be the

first person to help them get home, trust me.

MOONEY:Why does it all have to be a secret? Whycant these families go get their loved onesremains and give them a proper burial?

WALTER:Just because...Look, I cant explain it verywell. This place where they died, it has to bekept hidden and safe. If it were everexploited, this whole planet would be in

trouble.MOONEY:

Now youre starting to sound like a crazyman.

WALTER:Maybe I am crazy. But Im telling you thetruth.

MOONEY:Now that we know about you, Mr. Edwardshas a lot of plans. If that plane in the Sunda

Trench is proven to be a fake, its going togo over to the Feds. And we both know thatno one can hide from the Feds very easily.

WALTER:Im a hard guy to pin down.

MOONEY:That may be true. But dont you feel forthose families? Cant you give mesomething that I can tell Mr. Edwards?

WALTER:Of course I feel for them. (beat) But I cantmake things right for them, nobody can.Their loved ones are lost.

MOONEY:When Ajira landed at Marcus Island, therewas mass confusion. The people there didntknow what to do. There was a languagebarrier, there was this mystery...and beforeanyone knew it, there was nobody left

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behind to tell the truth.

WALTER:And what do you expect me to say? I wasnever on that plane. I dont know whathappened.

MOONEY:Where was that plane in those two weeks itwas missing? Was this the same place thatthe Oceanic Six were after Flight 815crashed?

WALTER:You already know those answers.

MOONEY:Where is this place?

WALTER:

I can never tell you. But I know this much. Ifanything happens to my Grandmother, orsomeone else I care about, and I find outthat you or Edwards was responsible, it willbe the worst mistake youve ever made inyour life.

Mooney lightly chuckles to himself, shaking his head.

MOONEY:Were not bad people, Walter.

WALTER:

Tell that to the family of the dead guy in LosAngeles.

MOONEY:Were going to follow you.

WALTER:Yeah, I figured you were.

MOONEY:So why dont you just save us both thehassle and just tell me where we can findthe bodies of all those Ajira passengers?

WALTER:Im going to go back home. I just came outhere to warn you.

Walt turns both shoulders and locks eyes with him.

WALTER:Im telling you, it will be the worst mistakeyouve ever made.

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MOONEY:Were not going to hurt your Grandmother oryou or anyone else. But we are going to getthe media and eventually the Feds involved.

WALTER:People think its all a bunch of conspiracy

quacks anyhow. You think this is the firsttime someone tried to say I was WalterLloyd? Nobody cares.

MOONEY:But you are Walter Lloyd. And we are goingto expose the lies. Its just a matter of time,you know it and I know it. And what will youdo then? Huh?

WALTER:I guess youre just going to have to follow

me and find out.A STUNNING moment. Walt simply disappears. He vanished!

Mooney is left staring at an empty space on the park bench.

CUT TO:

INT: GLORIA DAWSONS APARTMENT

We see a napping Walt, asleep on his Grandmothers COUCH. He stirs around andopens his eyes. He immediately rises to his feet and grabs a BAG that was sittingright by the couch and leaves his Grandmothers apartment. As the door closes

behind him, Gloria comes in the room.GLORIA:

Sweetheart, where did you go?

CUT TO:

EXT: THE STREET. DAY.

We follow Walt as he makes a mad DASH down the street. Running to the nextintersection he tries to hail a cab, after being frustrated for a moment, he takes offagain. CUT, we see him finally, after several moments of jogging, getting into aCAB, hes out of breath.

CUT TO:

EXT: CENTRAL PARK, DAY.

Mooney, with a phone to his ear is sitting in astonishment.

MOONEY:Im telling you he was right here, two feetaway from me and he just vanished! Andnow youre saying a minute ago you just

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saw him run out of the apartment?

He waits for the other end of the line.

MOONEY:Well, whatever. Follow him! Dont let him outof your sight.

Mooney hangs up the phone and puts his hand on his forehead. Hes completelyblown away by what has just happened.

ACT FIVE

INT: INSIDE AN AIRPLANE

We see the interior of an AIRPLANE in mid-flight. Mr. Hansos assistant Peter, theman who strangled Carlos, walks into the screen carrying a DRINK in his hand. WePAN and follow behind him. He comes to a stop and we see EMMA, lying in a seat,shes unconscious. CUT to close up on Emma, Peter speaks to her in a Danishaccent.

PETER:Wake up, wake up.

Emma comes around and looks up at him, in shock.

PETER:You are on a plane over the South Pacific.

EMMA:Who are you? What am I doing here?

PETER:Mr. Hanso will explain everything to you.

You will need to behave or we will sedateyou.

He offers her the drink and she just looks at him, petrified.

CUT to see the Luxury portion of this plane. Mr. Hanso sits at a table by himself,looking at a MAP. Emma walks in with Peter not far behind her. Hanso looks up andnotices her.

MR. HANSO:I see you are up from your nap.

EMMA:

What is this all about?MR. HANSO:

You know good and well that this is aboutthat Island. Now, please, have a seat.

She looks behind her only to see the rather large Peter, who extends his handforward as if to say have a seat. She turns and sits in a chair. Peter exits as shedoes so.

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MR. HANSO:Im going to get right to the point, Emma. Myname is Morten Hanso and my father co-founded the Dharma Initiative.

EMMMA:Look, I dont know where that Island is. So

why are you doing this to me?

MR. HANSO:Were doing this to you for two reasons.First, I want you to show us precisely whereyou arrived on Wake Island. But second andmore importantly, your adopted father is aman I already know some things about. Andto my complete astonishment, he must knowsomething about this Island I have beenlooking for, for many years.

EMMA:How do you know him?

MR. HANSO:The Widmore Family has been one of ourassociates for a long time. Little did I knowthat Penelope Widmores husband wouldprove to be so vital.

EMMA:He doesnt know anything either. He hatedthat place as much as I did. He has no

interest in it.MR. HANSO:

Humor me and tell me how Desmond Humecame to be your father.

She stares off, not making eye contact. Upset.

EMMA:I left the Island with him. They searched formy mother for months and told me that shewas dead. So I went home with them.

MR. HANSO:According to your file, your mother died onlytwo years ago.

EMMA:She was messed up, on drugs, had lots ofproblems. They lied to me to spare me thepain, but...when I got old enough, they toldme about it and I wanted to find her formyself.

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MR. HANSO:And the anniversary of your crash made youwant to find her?

Hesitant. Nearly whispering.

EMMA:Yes.

MR. HANSO:Why were two small children sent on thatplane all alone?

Shes bitter and scoffs. Then tells him anyway.

EMMA:My Grandfather was in Australia. We stayedwith him for a while but he couldnt handleraising us. And so my mother convinced himthat she could handle it again...but we were

too young to understand what was going onwith her. After the crash, it must have gotteneven worse.

MR. HANSO:Thank you for sharing that. I am sure it ishard to talk about. All I want, Emma, is tofind the Island. If you prove to assist me infinding it, Ill give you some money for yourtrouble.

EMMA:

I dont need money. My parents inheritedWidmore Industries.

MR. HANSO:Yes, I know. (beat) I am just trying to bringabout some good will in my favor. (beat) Imnot an evil man. Im just determined to takeback what is mine.

He smiles. Emma does not return it.

EMMA:Why would you want to go to that God-

forsaken place?MR. HANSO:

Because my family left something behindthere. Something that was taken from us.(beat) I want you to help me with one lastthing and then Ill leave you alone so youcan enjoy the flight.

Annoyed, perturbed, fed up with the whole thing.

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EMMA:What?

MR. HANSO:Jacob? I trust he is gone?

EMMA:Yes. (beat) Hes dead.

MR. HANSO:Who is the new Jacob?

EMMA:I dont know what you mean.

MR. HANSO:Who leads the cult back on that Island?

Emma is baffled by the use of that word.

EMMA:

Cult? (beat) I really dont know who isthere...besides one man who helped usleave.

MR. HANSO:And what was his name?

EMMA:Why do you care?

MR. HANSO:Just tell me and we wont have to beat it outof Desmond Hume.

Emma is frustrated, just wanting all of this to be over.

EMMA:His name was Benjamin Linus.

MR. HANSO:Good.

EMMA:What do you mean good?

MR. HANSO:Because hes the person who killed all of our

people, dear. He murdered the DharmaInitiative. And when I get to that Island, Imgoing to gut him like a fish.

CUT TO:

INT: BENS OLD HOUSE AT THE BARRACKS. DAY

We see Ben, eating a piece of FISH at his kitchen table. After a moment, the frontDOOR barges open, Ben looks up and we now see Hurley closing the door behind

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him.

BEN:You could knock.

Hurley walks over to the kitchen table.

BEN:

I could have been naked for all you know.HURLEY:

Look dude...

Hurley has a seat next to him. Suddenly distracted.

HURLEY:Hey, what kind of fish is that?

Ben wants to stick to the point.

BEN:What did he say, Hugo?

HURLEY:Hes on a plane, taking a nap. Someonewas following him.

BEN:That cant be good.

HURLEY:I really think you should go ahead and leaveso you can start rounding up some people.

BEN:

How am I supposed to get there? Walt tookthe boat.

Hurley appears sheepish.

HURLEY:Look...I hope you dont get mad but...lastyear, when Walt left, Bernard went with him.

BEN:Why would that make me mad?

HURLEY:Just cuz I didnt tell you.

BEN:I understand if you need to have secrets,Hugo.

HURLEY:But I dont and thats the thing. Im sorry Ididnt tell you.

BEN:Its fine, Hugo. (beat) So why send Bernard

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out?

HURLEY:Because that big ol boat that you guys had?It was kind of...impractical, dude.

BEN:Yeah, so?

HURLEY:They sold it and bought two smallersailboats. You know about the one Waltuses, Bernard brought the other one backand has it over near their beach.

BEN:Great. Ill just use that one.

HURLEY:Its like...his boat, dude. Youre going to

have to go sweet-talk them into it.BEN:

I would think that he would understand.

HURLEY:The point is, were gonna have to lie to em.I cant tell them youre using it to bringpeople here. Theyd never go for it.

BEN:And you dont lie...so you need a good liar.

HURLEY:Yeah but its not like you mean any harm,right?

Ben is embarrassed about his talent.

BEN:Right.

Hurley grows pretty serious for a moment.

HURLEY:Ben...You told me once that the person whomoves the Island...they leave, right?

BEN:Thats right. It has to be a very last resort,Hugo.

HURLEY:You said it was beneath the Orchid, right?

BEN:Yes, Hugo...I thought we were going to try tobring people here first?

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HURLEY:We are. But youre leaving and...What ifsomething bad happens when youre gone?What if Im here all alone?

BEN:Youre the Protector of this Island, Hugo.

You call the shots. You have to protect thisplace at all costs. (beat) Even if that means Icant come back.

They share a solemn moment with one another.

CUT TO:

INT: IN THE JUNGLE, DAY.

We see BERNARDs face up close, with his big graybeard, PAN OUT and we seethat hes walking along while carrying a string of FISH. He stops and speaks loudly.

BERNARD:Come on boy!

CUT to see VINCENT in the jungle, running to catch up to him.

BERNARD:Dont want to miss out on dinner, do yaVincent?

CUT as Bernard and Vincent enter a clearing and we immediately see their CABINoff to the right, CUT up close and we see a smiling ROSE, outside of the cabin,shes noticing her husband walking up. PAN OUT and we see that Ben is standingnext to her. She calls out to her husband.

ROSE:I hope you brought enough, we havecompany.

Bernard is shown, noticing Ben.

BERNARD:Well hello there, Benjamin. Are you in themood for some fish?

BEN:Im not staying long enough to eat, but I

appreciate the gesture.BERNARD:

Probably had your fill of fish anyhow, right?

Ben smiles warmly.

BEN:Something like that.

ROSE:We were just chatting, I told him about that

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noise I heard.

BERNARD:And I told her there was nothing to worryabout, Ben. Am I right?

BEN:As far as I know.

ROSE:Bernard, he said hes leaving tonight to gosomewhere.

BEN:And I came to ask a favor.

BERNARD:What is it?

BEN:I need to borrow your boat.

BERNARD:Do you know how to sail?

BEN:Not really.

BERNARD:Id be happy to show you after I eat somedinner.

BEN:No thanks. I am really pressed for time.

ROSE:Where are you going to take it?

BEN:I have to get to the far side of the Island andback pretty quick...If I walk; it will take meforever...taking water breaks and such. Ipromise I wont crash your boat, Bernard.

BERNARD:Do you mind if I ask what you are going todo?

BEN:Its just...a bunch of Island stuff you probablywouldnt care about.

BERNARD:Youre probably right about that.

Bernard smiles warmly. Neither of them seemed too concerned. Rose walks over toBernard.

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ROSE:Bernard, give me that fish, Ill start cooking.You go show him where the boat is.

BEN:I really appreciate it.

BERNARD:Well, come on then, its only about a ten-minute walk.

Bernard and Ben begin to walk away as Rose calls out to them.

ROSE:Oh and Ben?

They stop for a moment at the sound of her voice.

ROSE:We dont care if you ever need to use it, butour only rule is that you dont ever bring

anyone else back here with it. Okay?

Ben, trying to correct his old ways, looks ashamed to have to lie again but does itanyway.

BEN:Sure thing, Rose.

CUT TO:

EXT: THE ISLAND, DUSK.

We see a long sweeping VIEW of the Island from above moving out towards the

sea, before finally focusing in on a SAILBOAT out at sea. We ZOOM down justabove it. From the side we can see a name painted on the side. THE FLOWERINGROSE.

CUT TO:

INT: INSIDE THE SAILBOAT. DUSK.

Ben is struggling to find something, after a moment, he grabs a BOOK and runsback up to the deck of the boat. CUT to see Ben at the helm. Glancing down at thebook, hes maneuvering to try and stay on course. We see his HEADER. It reads 3-1-7. He calls out to himself in frustration.

BEN:Come on! Move! Damn it!

What was a nice cozy day just before sunset, quickly TURNS. The SKY darkens. Itbegins to STORM. Ben looks up to the sky. Great worry has overcome his face.Hes panicking. He thumbs back through the book and then tosses it in frustration.He runs over to the SAIL but before he can get there BANG! A complete, torrentialDOWNPOUR begins. The sky has turned PITCH BLACK, save for whatevermoonlight breaks through.

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The sailboat begins to sway in the stormy waters. After fighting against it for amoment, suddenly he is THROWN down on his SIDE crying out in agony.

BEN:Ahhh!!

Ben is now flat on his BACK in the rain, hes injured and clearly rattled, he looks upto the sky.

BEN:Please...just help me!

THE SCREEN GOES COMPLETELY BLACK. SILENT.

ACT SIX

A TITLE CARD ON THE SCREEN READS:

Wake Island, South Pacific

EXT: A DOCK. NIGHT.

FADING back in, we see a close up of an OPEN EYE. Then ZOOMING out, we seethat it belongs to Walter. He is standing on the DOCK at night, looking around tosee if anyone is watching him. After a moment, he begins again, setting up hisSAILBOAT, which is docked here at Wake Island.

Walt begins to hoist the SAIL and we CUT to see a different vantagepoint throughnight-vision-BINOCULARS, from a fair distance away. CUT to see the man holdingthese binoculars, its Mooney, standing next to him is Roy Edwards.

ROY:

Whats the verdict?MOONEY:

Looks like he is getting ready to leave prettysoon.

ROY:I trust you have what you need?

MOONEY:Yes sir. The six of us are going to follow himas closely as possible without being seen.

ROY:

Whats to say he wont lead you on a wildgoose chase to the middle of nowhere andwe ultimately find nothing?

MOONEY:What other choice do we have?

ROY:I suppose youre right. (beat) Im going to beleaving within an hour or two. The expedition

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at the Sunda Trench begins tomorrowmorning. I need to be there for the cameras.

MOONEY:Once the world knows that this is a hugefraud, we can shine light on the whole affair.

ROY:Absolutely. (beat) Good luck, Mooney, Illsee you soon. (beat) Hopefully with someamazing news.

MOONEY:Thank you, Mr. Edwards. Ill do what needsto be done.

The two men share a handshake.

CUT TO:

EXT: AIRPORT, NIGHT.

Roy Edwards is now seen from a certain P.O.V. walking on the tarmac towards hisPRIVATE PLANE. CUT to see the person assuming this Point Of View, its MortenHanso, standing next to him is his henchman, Peter. They are both gazing outtowards Edwards direction. Speaking in Danish, this conversation is SUBTITLED.

MR. HANSO (IN DANISH):Theres only one reason he would be here.

PETER (IN DANISH):The boy?

MR. HANSO (IN DANISH):Hes not a boy anymore, Peter. Hes a man.And this man would likely be traveling byboat.

PETER (IN DANISH):What do you suggest?

MR. HANSO (IN DANISH):If Edwards people are any good at all,theyll be trailing him.

PETER (IN DANISH):

Follow the man or follow Edwards people?MR. HANSO (IN DANISH):

If we follow his people, it will lead us to theman.

PETER (IN DANISH):What if this man is just distracting them?

MR. HANSO (IN DANISH):Then we will take this man, Walter Lloyd.

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(beat) And we will force him to take us tothat Island by any means necessary.

CUT TO:

EXT: THE OPEN PACIFIC OCEAN. DAY.

Mooney is in the cabin of a BOAT, examining the RADAR or GPS screen, next tohim is a MAN named Lillard, one of his five assistants. Mooney points down to theSCREEN.

MOONEY:You see him? Hes moving faster now. Goand tell them we need to increase thespeed.

LILLARD:How fast?

MOONEY:I have no idea. Youre the one who knowshow to sail, right?

LILLARD:Ill calculate a speed. How close should weget to him?

MOONEY:As long as we see him, thats good enough.He cant see us, right?

He seems perturbed by a repetitive question.

LILLARD:Like I told you, Im pretty sure his little-assboat isnt equipped with radar powerfulenough to see us this far back.

MOONEY:Well, get as close you can, I have a feelingsomething is going to happen soon.

Lillard begins to exit but before he can leave, Mooney calls out, causing him to stop.

MOONEY:

Wait! What is this?Mooney still concentrating on the SCREEN points to it, and we see the screen. Adistant THIRD dot is seen below (South) of two other DOTS. Lillard takes a look at itand scoffs.

LILLARD:Its probably just a plane! Stop worrying,okay? If I see something suspicious, Ill letyou know.

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Mooney gives him a look as if to say, okay, I guess.

CUT TO:

INT: A SMALL PLANE. OVER THE OCEAN.

We are now inside of a small PLANE, an unknown PILOT flies, with an unknownCO-PILOT sitting beside him. Once he speaks, we can obviously figure out whom

they are affiliated with. The pilot is speaking through his headset. Subtitled.PILOT (IN DANISH):

I will fly over the trailing boat. Then Ill havemy co-pilot send you the coordinates, Mr.Sorensen.

CUT to another LARGER BOAT, near freighter size. We see that Peter Sorensen ison the other end of the conversation, hes wearing a HEADSET, standing on thedeck of this large boat.

PETER (IN DANISH):Good.

Peter then motions to some MEN standing not too far away, they then turn and wefollow them PANNING as they head towards a BLUE HELICOPTER that is sittingon a HELIPAD on this large boat. On the side of the helicopter is an insignia with anH on the logo. Its obviously the SAME helicopter from the opening scene. CUTback to Peter, he removes his headset and has a foreboding grin on his face.

CUT TO:

INT: HANSOS PLANE. A PRIVATE RUNWAY. DAY.

From outside we see a shot of a parked PLANE with an insignia on the side. It

reads HANSO FOUNDATION. CUT to inside of the plane, in the luxury portion,Morten Hanso is hanging up his cell PHONE as he notices a GOON of his bringingin Emma, she has a cloth GAG over her mouth and her hands are TIED behind herback. Hanso speaks to his man in English.

MR. HANSO:Untie her. (beat) And let her speak.

Unnamed Goon unties her hands and removes the gag.

MR. HANSO:They said you were pitching a fit. I guessthey found a way to shut you up.

She gives him a defiant look then quickly looks away, speaking without making eyecontact.

EMMA:What are you going to do with me?

MR. HANSO:That depends on what happens in the nexthour or so.

She finally locks eyes with him again.

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EMMA:What do you mean? I told you everything Iknow. I showed you exactly where welanded!

MR. HANSO:Yes and for that, Ive resisted the idea of

removing some of your fathers fingers formore information. (beat)At least for themoment.

She reiterates. More adamant this time.

EMMA:What are you going to do with me?

MR. HANSO:Unfortunately for you, I now believe yourfather has access to some very importantinformation regarding this Island. So that

makes you too valuable to let you go.

EMMA:Are you just going to keep me prisoner onthis plane?

MR. HANSO:No. Were going to have to move you. Implacing you on a boat that will take you to alarger boat. And hopefully in a short periodof time, we will have access to the Island.

EMMA:Where are you taking me?

MR. HANSO:Were going to establish a path to the Islandand then were going to keep you prisonerthere. That is, until your father gives meeverything that Charles Widmore knewabout that Island. (beat) Everything thatCharles stole from myfamily.

EMMA:I do notwant to go back there! Let me talk tomy father, hell give you whatever you want!

MR. HANSO:I cant alert your father to this situation untilweve found a way to the Island. Otherwise,it could all blow up in our face. The easiestthing for me to do is to be patient and wait.And since youve become so valuable, Imafraid there is no other choice.

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Shes insistent, pleading.

EMMA:When you find the Island, let me speak tohim! Hell give you what you want and Illnever have to go back there!

MR. HANSO:Once I am in a position to completely takeback whats mine, I will gladly let you leave.Until then, Emma, Im afraid...you have togo back.

Emma is extremely distressed, tears flowing down her face.

CUT TO:

EXT: THE PACIFIC OCEAN. DAY.

Walter Lloyd stands on the DECK of his sailing boat, checking his WATCH. He then

glances down to read the bearing. 3-1-5. Hes on course. He looks at his watchagain, looks back up and stares intensely AHEAD for a moment, then heads downBELOW deck. CUT to see him heading towards his RADAR. He gives it a quickGLANCE as if hes just making sure and then begins to leave before stoppinghimself in his tracks. He appears stunned by something he had just seen.

He turns back around, very quickly, to look at the radar again. CUT to see the radarSCREEN. There is a flashing LIGHT following him. He stares at it for a moment,and looks at his watch again. We now see his watch. Its 3:16 P.M. He looks back tothe radar screen to the single blinking LIGHT following him. After a few moments,POOF! It disappears.

He runs back up top and we CUT to the DECK, as we see him emerging. He arrivesup top and stops, catching his breath. We ZOOM in on him, a TIGHT SHOT. Hishand is grabbing the RAILING, resting for a moment. CLOSE UP on his face, wide-eyed. And finally, he grins, slightly, looking AHEAD.

CUT to finally see what hes seeing. WOW. From a distance, we see a WIDE SHOTof THE ISLAND in all its beauty. CUT back to Walt, he exhales with relief.

CUT TO:

INT: MOONEYS BOAT, DAY.

Mooney and Lillard sit in front of their RADAR, Mooney with a befuddled look on hisface. He starts knocking on the RADAR screen like youd bang on an old TV set.

MOONEY:Where the hell did he go?

LILLARD:Will you stop doing that?

Lillard walks over to a nearby TABLE and begins writing down some NOTES.

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MOONEY:Lillard, where is he?

LILLARD:Im writing down the exact coordinateswhere we lost him.

MOONEY:So what do we do?

LILLARD:What do you think? Were going to this exactspot.

Lillard, a slight grin on his face, waves the piece of paper hes just written on out infront of him.

CUT TO:

EXT: A FREIGHTER ON THE OCEAN.

A TITLE CARD on the screen reads:

NEAR THE SUNDA TRENCH

Roy Edwards stands out on deck of this FREIGHTER with a cell PHONE inbetween his ear and his shoulder, hes writing something down on a NOTEPAD witha pen, while talking on the phone.

ROY:Okay. What is the time frame?

CUT to see Mooney. Hes ABOVE deck on his sailboat with the other FIVE men. ItsLillard, a MAN at the helm and THREE men who appear to be dressed in military-

style garb.

MOONEY:We should be there in less than an hour.

ROY:Great work, Cliff.

MOONEY:Hows it going on your end?

ROY:Weve been going at it since dawn, for about

eight hours. They found the plane already.Its just taking some time to find somethingtangible that will prove its a fake. That is,without exhuming any human remains.

MOONEY:I wish you luck with that. I have to tell ya, Mr.Edwards,I strongly suspect were gonna find whereyour parents are.

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ROY:Needless to say, I hope you do. (beat) I trustyour bodyguards are still there with you?

MOONEY:Yes sir. All three of them.

QUICK CUT of the three men, now brandishing automatic WEAPONS.

ROY:Do you what you need to do. (beat) Find outsome answers.

MOONEY:Consider it done.

CUT TO:

EXT: THE ISLAND. DAY.

We see a CLOSE UP of Vincent walking in the jungle, after a moment, CUT to seea WIDER view, we see Vincent is walking along at a decent pace. A voice is heard.

HURLEYS VOICE:Dude, I dont even know if Im supposed tobe following you or not but you need to slowdown.

Vincent suddenly stops. We see Hurley, he catches his breath and leans down topet the dog, speaking to him.

HURLEY:Sure seems like you want me to follow you,

boy. (beat) Wish you could like...talk.A shot of Vincent. Then we see Hurley, looking as if he were waiting for the dog tospeak.

HURLEY:Didnt think so.

Hurley now sits DOWN on his backside. The dog seems to be insistent. Hurleyspeaks to him casually.

HURLEY:Just give me a minute. (beat) Youre gonnahave to get used to this, you know? Im kindof on my own. (beat) Ben left yesterday andwho knows when hell get back here. (beat)If he even gets back at all.

Hurley looks over to Vincent, affectionately and reaches for him, running his handover his back.

HURLEY:Alright dude...Richard said that Jacobtouched him and made him ageless...so, I

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dont know how that works but if the Islandor whatever is listening...I want to do that foryou, Vincent.

Hurley smiles and then looks up to the sky, yelling playfully.

HURLEY:Did you hear that?

He chuckles to himself and then Vincent BARKS and begins to walk off, trying to getHurley to follow him.

HURLEY:Okay, okay, okay.

Begrudgingly Hurley rises to his feet to follow him.

CUT to the see the wide CLEARING in the VALLEY, where the old golf course wasmade. We are with Hurleys POV, as we see Vincent run up ahead of him to a HILLand stop, then Vincent turns around and we see him staring back at Hurley.

HURLEY:What? Are we there?

Hurley now labors up to the hill, out of breath, he leans down to pet Vincent on thehead, and then looks up. CUT to a CLOSE UP of Hurleys face. Hes completelyshocked.

CUT to see what hes shocked by. The crashed blue HELICOPTER, with the Hinsignia on the side, resting in the valley. Its now implicit that apparently it crashedbefore it had ever arrived. Complications with the wrong bearing, we suppose.There are no people to be seen around the crashed helicopter. Hurley speaksquietly to himself in a familiar and recognizable fashion.

HURLEY:Terrific.

Closing title card.L:TOG

A new sound punctuates the closing.

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Documents

LTOG Episode One