LOST
1X19: DEUS EX MACHINA
ORIGINAL AIR DATE ON ABC: 03/30/2005
TRANSCRIBED FROM ABC

Written by CARLTON CUSE & DAMON LINDELOF
Directed by ROBERT MANDEL

Transcript by Intrepid
Courtesy of http://anthology.webphilia.com/

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Transcriptionist.

RATING: TV-14
HDTV
==========================
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==========================
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==========================
SUMMARY: Locke and Boone work at getting into the hatch. Locke starts losing
control over his legs. A dream leads Locke and Boone to an old airplane where
Boone finds a working radio inside. He makes a desperate cry for help.
Meanwhile, Sawyer is having terrible headaches and is reluctant to have Jack
examine and treat him.
==========================
LOST
1X19: DEUS EX MACHINA
==========================



FADE IN.

NARRATOR: (v.o.) Previously on "Lost" ...

[Scenes from 1X04: Walkabout]

[INT. TRAVEL OFFICE - DAY -- FLASHBACK]

(The Travel Agent speaks with Locke.)

TRAVEL AGENT: You neglected to tell us about your condition.

LOCKE: My condition is not an issue. I've lived with it for four years ...

CUT TO:

(The Travel Agent is standing up.)

TRAVEL AGENT: We'll get you on a plane back to Sydney on our dime.

LOCKE: No, I don't wanna go back to Sydney.

CUT TO:

(The Travel Agent has stepped out of the office. Locke sits in the wheelchair
and pushes himself toward the door.)

LOCKE: (shouts) You don't know who you're dealing with! Don't ever tell me
what I can't do -- ever!

HARD CUT TO:



[EXT. BEACH - CRASH SITE - JUST AFTER CRASH -- DAY]

[LOCKE'S SOCKED FOOT]

(Camera focuses on Locke's socked foot.)

LOCKE: (v.o.) This is Destiny.

(He slowly looks at his foot.)

LOCKE: (v.o.) This is my destiny.

CUT TO:

(With both feet flat on the ground, Locke slowly stands up. He lets go of the
ground and carefully lets his feet bear his weight.)

LOCKE: (v.o.) This is -- I'm supposed to do this, damn it!

(Locke stands up and looks around in wonder. There's a small smile of joy and
wonder on his face.)

CUT TO:



[Scene from 1X13: Hearts and Minds]

[EXT. JUNGLE - THE HATCH - DAY]

(Boone and Locke push away the greenery they used to cover the hatch. The
window at the top of the hatch is revealed. Boone brushes the dirt away from
the hatch.)

LOCKE: (v.o.) How do you open a hatch that has no handle, no latch, and ...

CUT TO:

(Lock kneels down near the hatch window, his hand to his temple as he thinks
about it.)

LOCKE: (v.o.) ... no discernible way of opening it?

(He turns and looks at Boone.)

(Camera holds on Boone as he looks back at Locke.)

FADE TO
END OF PREVIOUSLY ON



FADE IN.

[INT. STORE - DAY -- FLASHBACK]

(Locke is standing in front of a display table where he's set up the game board
for "Mouse Trap". He's putting the pieces together.)

(A little boy turns the corner and sees him. He walks up to Locke as Locke is
putting the green toy soldier on the board.)

(The little boy stops to watch.)

BOY: What's that?

(Locke looks at the little boy and smiles. This is a younger Locke. With
hair.)

LOCKE: A game. It's my favorite game, actually. I used to play it with my
brother. It's called 'Mouse Trap'.

BOY: How do you play?

LOCKE: Well, you start with all these parts off the board.

(Locke kneels down in front of the table as he continues to explain the game to
the little boy. In the background, we notice a woman wearing a fur coat
watching Locke.)

LOCKE: And then, one by one, (Locke places the cage at the top of the pole.)
you build the trap. (He points to the pieces.) Shoe, bucket, tub -- piece by
piece, it all comes together.

(He picks up the mouse piece and places it on the board. We notice that the
woman in the fur coat moves in closer toward Locke.)

LOCKE: And then you wait till your opponent lands here on the old cheese wheel,
and then if you've set it up just right, you spring the trap.

(He points to the lever on the board. Locke looks behind the little boy and
sees the woman in the fur coat. She stares at him.)

LOCKE: Go ahead, kiddo.

(The little boy picks up the marble and sets the trap in motion. Locke stands
up and heads for the woman in the fur coat.)

CLOSE ON: THE MARBLE IS RELEASED AND ROLLS DOWN THE START OF THE GAME, SETTING
THE TRAP INTO MOTION

LOCKE: May I help you, ma'am?

(She quickly looks Locke up and down. She smiles at him, her eyes wide.)

EMILY LOCKE: Yes, um, could you tell me where the footballs are?

(Locke looks around and points.)

LOCKE: Yeah, aisle eight for regulation, aisle fifteen for Nerf.

EMILY LOCKE: Oh, yes, thank you. (softly) Thanks.

(Without taking her eyes off him, the Woman slowly backs away from Locke. Locke
watches her go.)

CLOSE ON: THE MOUSE TRAP

(The marble springs the trigger and lands on the see-saw. The green toy plastic
man on the other side is propelled up and lands in the yellow tub, springing the
trap.)

(The red plastic cage falls on the unsuspecting blue mouse.)

(Trapped!)

END OF FLASHBACK
RESUME TO PRESENT



[EXT. HATCH - DAY - PRESENT]

(Locke crouches down in front of the hatch, wiping the dirt away from the small
window with the palm of his hand.)

BOONE: (o.s.) You want my opinion, ... (no audio/cc) there's no way to open
this hatch.

(Locke stands up, his eyes never leaving the window.)

LOCKE: Boone, you gotta have some faith.

(Boone steps off of the hatch. A far camera shot of the hatch shows that
they've dug out considerably around the metal container. They've even
constructed a bamboo ladder leading down into the ditch around the huge
container. It's apparent that they haven't nearly begun to uncover the whole
piece.)

LOCKE: All we've gotta do is break the glass, and then we're in. The trebuchet
delivers half a ton of force.

(Locke steps off the hatch.)

BOONE: Why do they call it a trebuchet? It looks like a catapult.

(Boone indicates the huge bamboo contraption that he and Locke have constructed.
It's positioned on the ground near the hatch. The bottom of the trebuchet is
weighted with a huge stone attached to a long bamboo rod.)

LOCKE: It's called a trebuchet, Boone, because it's a trebuchet.

(Locke and Boone push the weight at the bottom back.)

BOONE: I don't get you, man. One minute you're quoting Nietzsche, now all of a
sudden you're an engineer. (Boone holds the weight back while Locke places in a
bamboo rod to hold it in place.) I don't think I can spell 'trebuchet'.

LOCKE: There's a "t" on the end.

(Locke and Boone look up. Boone looks at Locke.)

BOONE: I'm serious, John we've been coming out here every day for two weeks,
and you never talk about yourself. Everybody's got a story.

LOCKE: My story would bore you.

(Boone sighs and walks away.)

SHORT TIME CUT TO:

(The metal hook-like end of the trebuchet slowly rises higher and higher into
the air, it's sharp tip poised for the hatch window.)

(Locke and Boone twist the bamboo, wrapping the rope around it and pulling the
end of the trebuchet higher and higher into the air.)

LOCKE: Three. Two. One.

(Locke releases the rope.)

(The metal hook swings down directly onto the hatch window. The metal hook
smashes and breaks into tiny bits.)

(The moving force, which was supposed to have broken through the window,
vibrates back through the trebuchet. The pieces of bamboo shatter and break.
The entire contraption tilts and falls apart, hitting the ground with a thud.)

(Locke makes his way back onto the hatch to check on the window.)

(Not a scratch.)

LOCKE: (frustrated) This was supposed to work!

(Locke stands up, his eyes looking at the window.)

LOCKE: (shouts) This was supposed to work!

(Locke stamps his foot with emphasis.)

BOONE: John!

(Boone steps up onto the hatch. He looks down at Locke's leg.)

BOONE: Your leg, man.

(Locke turns around and looks at Boone. He then looks down at his own leg - at
what Boone is looking at.)

(At first he doesn't see it. He turns and looks and finally sees what Boone
sees: a sharp piece of bamboo is lodged into the side of his back right leg in
his mid-calf under his knee.)

(Locke reaches down and pulls the bamboo shard out from his leg. He looks at
the bloodied tip.)

(It looks sore, but Locke doesn't flinch.)

BOONE: (concerned) You okay?

(Locke looks from the bloodied shard to his leg.)

LOCKE: Yeah. I'm fine.

(Boone looks at Locke.)

CUT TO:



[EXT. JUNGLE - NIGHT - LATER]

(By the light of the small campfire, Locke adjusts the strip of cloth tied over
his injury on the calf of his right leg. He taps his hand against the wound.)

(He looks concerned.)

(Locke looks around and reaches for his backpack.)

CUT TO:

(Locke opens a large safety pin and bends it back. He uses the point and pokes
various places in his right calf just below the injury. He works his way up -
poking his right leg just below and above the knee.)

(Whatever he's finding, he doesn't like it.)

(Locke lifts up his left pants leg and starts poking desperately at his left
leg.)

(Locke considers it.)

(He reaches into the fire and takes out a log, hot and burning on one end. He
blows out the fire at the end of the log.)

(He uses the hot tip to touch the bottom of his right foot. We hear the flesh
sizzle as it burns.)

(Locke doesn't react. He watches dispassionately as his foot is burned.)

(Locke looks up. A look of fear and worry clearly on his face.)

FADE OUT TO



[TITLE LOGO: LOST]

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. JUNGLE -- NIGHT]

(Locke uses an axe and hacks away at a branch off a fallen tree. Boone holds
the end of the branch as Locke hacks away at the wood.)

BOONE: The trebuchet ... why didn't it work?

LOCKE: It didn't work because it wasn't strong enough.

BOONE: I don't think that glass is gonna break, man. Whatever it's made out of
...

LOCKE: Everything breaks if you apply the right force.

(Locke stops, then continues to hack at the tree branch.)

BOONE: So, we're just going to build another one of your inventions, and hope
it works this time?

(Locke stops and looks at Boone.)

LOCKE: That's right.

(Locke goes back to chopping the tree branch.)

BOONE: What if it doesn't?

LOCKE: (absently) Then the island will tell us what to do.

(Locke cuts through the tree branch.)

BOONE: (surprised) What's that?

(Locke doesn't answer the question. He looks at Boone.)

LOCKE: We should get back there. Salvage those pieces.

(Locke tosses the axe aside. He puts both his hands on the tree branch and
struggles to get his legs under him to stand up.)

BOONE: Your leg okay?

(Locke struggles. He picks up the branch.)

LOCKE: It's fine.

(Locke moves stiffly. Boone carries the backpacks and follows Locke.)

CUT TO:



[EXT. PARKING LOT - DAY - FLASHBACK]

(Locke walks through the parking lot. He's ready to go home.)

MAN: (o.s.) Hi, John.

(Locke waves at someone off screen. He digs into his pockets and takes out his
car keys. He reaches his car and sees a small flyer stuck under his windshield
wiper.)

(He looks at it. It's for a LOST DOG.)

(Locke looks up and sees the woman in the fur coat watching him from a distance.
The woman notices him glance back at her. She quickly turns and starts walking
away. Locke runs after her.)

(Off screen, we hear a car door slam shut.)

(Locke keeps his eyes on the woman walking quickly in-between the cars.)

(Off screen, we hear a car engine start.)

(Locke turns down the parking aisle. The woman glances back over her shoulder
at him.)

(A car suddenly backs out of the parking stall and hits Locke. Locke falls and
hits the ground. He lies there for a moment.)

MAN: (o.s.) You all right, man?

(Locke looks around and gets to his feet. He runs down the parking aisle
looking for the woman in t he fur coat. He stops and looks around. He sees her
walking quickly down another parking aisle.)

(Locke catches up with the woman.)

LOCKE: Hey! Hey. Hey, hey.

(He stops her.)

LOCKE: Why are you following me?

EMILY LOCKE: I'm sorry.

LOCKE: Who are you?

(She looks at him.)

EMILY LOCKE: I'm your mother.

SHORT TIME CUT TO:



[INT. DINER - DAY -- FLASHBACK]

(Emily Locke stiffly and precisely puts at least four partial heaping teaspoons
of sugar into her cup. On the dish next to her are a couple of used tea bags.)

(Locke sits across the table from Emily.)

LOCKE: Look, Miss ... uh, I don't know why you think I'm your son, or how you
found me, but --

EMILY LOCKE: (interrupts) You're adopted, aren't you?

LOCKE: No. No, I was raised in a foster home -- well, several foster homes,
actually. Look, I don't mean to be rude. What do you want from me?

EMILY LOCKE: I wanna tell you that you're special -- very special. You were
part of a design. You do realize that, don't you? That our meeting -- me
finding you -- this is a sign of things to come -- great things.

LOCKE: My father ... is he still alive?

EMILY LOCKE: Still alive?

(She looks at him and smiles indulgently.)

EMILY LOCKE: (cheerfully) Oh, John, don't you understand? You don't have a
father. You were immaculately conceived.

(Camera holds on Locke.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT



[EXT. JUNGLE CLEARING -- SUN'S GARDEN -- DAY]

(Sawyer walks over to Sun who is working on her garden. He holds out two leaves
for her to look at.)

SAWYER: Which one?

(Sun points to the leaf in his right hand.)

SUN: That one.

SAWYER: You're sure? (frustrated) Because this is the one I've been using,
and nothing's happening.

SUN: I'm sorry it's not helping.

(Kate walks up to them.)

KATE: What's not helping?

(His back is turned to her, so until she speaks, Sawyer doesn't know that she's
there. He turns and looks at her.)

SAWYER: Nothing.

(Sawyer stands up.)

SAWYER: (to Sun) Thanks anyway. (He looks at the garden.) Nice garden.

(Sawyer leaves. Sun goes back to tending her garden. Kate walks over to her
and takes out a couple of water bottles.)

KATE: What was that all about?

(Sun turns to Kate.)

SUN: He has headaches.

KATE: Doesn't the guy have, like, a truckload of aspirin stashed away
somewhere?

SUN: He says aspirin didn't help.

(Sun looks in Sawyer's direction. Kate also turns to look back, a worried look
on her face.)

CUT TO:



[INT. CAVES - DAY]

(Jack is standing in front of a small mirror shaving. Kate walks into the cave
smiling. She walks over to him.)

KATE: Can I ask you a question? (Jack looks at her.) Say you're having bad
headaches every day --

(Jack looks at her a concerned look flitting across his features.)

JACK: Are you okay?

KATE: Yeah, I'm fine.

JACK: So, who are we talking about, then, Kate?

(Jack goes back to shaving, finishing up.)

KATE: Sawyer.

JACK: Uh-huh.

KATE: I just think there might be something really wrong with him.

JACK: And what does he think?

(Done, Jack takes his things and heads back into the caves.)

KATE: He says he's fine, but --

JACK: Then he's fine.

(He picks up his empty tin and heads inside. Kate follows him.)

KATE: Well, he could be playing it down. There could be something --

JACK: Look, Kate, (Jack puts the tin on the shelf in his area.) I'd love
nothing more than to check the guy out and make sure he's okay. But we both
know all I'm gonna get for my trouble is a snappy one-liner, and if I'm real
lucky, a brand-new nickname.

(Kate smiles. She knows exactly what he's talking about.)

JACK: I'm just over it.

(The metal tin clanks as Jack puts his razor in it. Kate doesn't say anything.)

CUT TO:



[EXT. JUNGLE - HATCH - DAY]

(Locke is working. He turns and sees Boone just arriving at the area.)

LOCKE: You're late.

(Boone pushes some hanging vines aside and walks down the path toward Locke.)

BOONE: Late for what?

LOCKE: Late for work.

BOONE: I think I'm done working, John.

LOCKE: I'm sorry, what?

BOONE: This is useless. You can't open that thing up. You say you can, but
you can't.

LOCKE: No, don't tell me what I can't do.

BOONE: Don't you get it? It's a dead end. You're not getting in.

LOCKE: That's impossible. We didn't find this by accident. We're supposed to
-

(Boone walks past Locke and over to the hatch.)

BOONE: (mocking) Oh, "we're supposed to". "We're supposed to" find this,
right?

(Boone stands directly on top of the hatch, the small window between his two
feet.)

BOONE: We're supposed to open it, right? Then tell me something, John. If
we're supposed to open it, then why the hell haven't we opened it yet?

(Locke looks around, then answers.)

LOCKE: The island will send us a sign.

BOONE: (mocks) "The island will send us a sign."

LOCKE: All that's happening now is our faith is being tested -- our commitment.
But we will open it. The island will show us how.

BOONE: (hands on hips) What kind of sign will the island send us? Huh, John?

(Locke looks at Boone. He's silent for a moment.)

CUE SOUND: (O.S.) AIRPLANE ENGINE

(Locke looks up. He sees a small airplane flying erratically, a small stream of
black smoke behind it. The small aircraft is flying at a downward angle as if
it's going to crash.)

(Locke points to the plane.)

LOCKE: Did you see that?

(Locke turns and looks at Boone. Boone doesn't answer.)

LOCKE: Boone.

(Boone is looking up at the sky, in the direction of the airplane. Camera
slowly presses in on Boone.)

QUICK FLASH:

(Boone is bloodied and injured, his face and clothes covered with his own
blood.)

RESUME:

(Boone continues to stare at the sky. Locke can't seem t take his eyes off
Boone as if he can't believe what he just saw.)

CUE SOUND: (O.S.) CLAY POTTERY SHATTERING

(Locke turns to look to his right, in the opposite direction where Boone is.)

(He sees Emily Locke standing in the jungle a distance away.)

HARD CUT TO:

(Suddenly, Emily Locke is pointing upward and left toward the airplane.)

BOONE: (mechanically) (o.s.) Theresa falls up the stairs.

(Locke turns to look back at Boone.)

(Boone is again bloodied and injured. He stares upward in the direction of the
airplane.)

BOONE: (mechanically, continuously) Theresa falls down the stairs. Theresa
falls up the stairs.

(Locke stares at Boone. In the background, we hear a scream.)

BOONE: (mechanically) Theresa falls down the stairs. Theresa falls up the
stairs.

HARD CUT TO:

(Locke is sitting in a wheelchair. He can't believe it. In the background,
Emily Locke stands in the jungle, her arm raised as she points to the sky.)

(Locke looks at his legs.)

LOCKE: No. No!

BOONE: Theresa falls down the stairs.

LOCKE: No. No, please.

(Cut to: Boone continues to recite in a mechanical, other-worldly monotonous
voice.)

BOONE: (mechanically) Theresa falls up the stairs.

(Locke tries to stand up, his right hand gripping his pants as he tries to get
his legs to move.)

LOCKE: Don't take it back! I'm --

BOONE: Theresa falls down the stairs.

(Locke falls.)

HARD CUT TO
END OF DREAM SEQUENCE.



[EXT. JUNGLE - NIGHT -- PRESENT]

(Locke falls to the ground. He's awake. The first thing he does is rub his
left leg with his left hand.)

(Panting, Locke sits up, spooked.)

(He puts his hands to his face, rubbing his head with the palms of his hands as
he breathes heavily. He rubs his mouth as he thinks.)

(Locke puts his hand down.)

(Camera holds on Locke.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. BEACH -- DUSK]

(It's dark. Boone is sleeping near a fading campfire. Locke kneels over
Boone.)

LOCKE: (whispers) Boone. Wake up.

BOONE: Hmm?

LOCKE: Shh.

BOONE: What time is it?

LOCKE: It's morning, come on.

BOONE: Okay, okay, I'm-I'm-I'm up. I'm up. I'm up.

(Boone gets up.)

BOONE: (sleepily) What's going on?

(Locke looks at Boone.)

LOCKE: Come on, let's go.

(Locke gives Boone his backpack and starts walking out. Half sleeping, Boone
follows.)

(Camera holds on Locke.)

FRAINEY: (v.o.) Emily Annabeth Locke ...

CUT TO:



[INT. STORE - BREAK ROOM - DAY -- FLASHBACK]

(Locke walks with a private investigator. They're both sitting in the break
room across the table from each other.)

FRAINEY: ... in ten thousand words or less.

(In front of Locke, there's an envelope. Locke takes the papers out of the
envelope and looks at them. The top-most sheet is from the CALIFORNIA DMV:
EXPIRES ON BIRTHDAY

DRIVER LICENSE
11771752 CLASS C
EXPIRES: 03-20-94

EMILY ANNABETH LOCKE
2448 GREENWOOD AVE.
LOS ANGELES CA 90019
SEX: F HAIR: BRN EYES: BRN
HT: 5-05 WT:115 DOB:10-15-40

{PHOTO ON LEFT}
{SIGNATURE ON RIGHT}
03-20-90 130 ML FD/40

LOCKE: So, she's my mother.

FRAINEY: I lifted some hairs from her car, and matched them with your DNA
samples. It's 99% certain. She was institutionalized a few times.

(Locke is looking at a STATE OF INCOME *** *** FORM for:
LOCKE, EMILY ANNABETH
2448 GREENWOOD AVE.
LOS ANGELES, CA *****

(The second sheet he looks at is a
SANTA ROSA
MENTAL HEALTH INSTITUTION
RECORD OF ADMISSION

LOCKE EMILY ANNABETH // ADMISSION NUMBER: 846434
2448 GREENWOOD AVE // HOME PHONE: 213 555-01**
LOS ANGELES CA LA // ZIP CODE: 90019

ROOM NO. 345
PREVIOUS ADM DATE: 10/5/92
PREVIOUS ADMISSION NO.: 564815

DR. D. MADISON // ADDRESS: 1258 BENDIX AVE. // PHONE: 213 555-0133
DR. C. SILVA // ADDRESS: 578 SELMA AVE. // PHONE: 213 555-0135
DR. R. MUNOE // ADDRESS: 50 S. ALMA AVE. // PHONE: 323 555-0144
BEA JONES/AUNT // ADDRESS: 15347 OCEAN AVE. // PHONE (HM): 555-0121
// PHONE (WK): 555-0170
BEA JONES/AUNT // ABOVE

ADMITTED FROM: SELF ADMIT
PHARMACY: SKADDEN ]

LOCKE: What for?

FRAINEY: Nothing criminal or violent. It's a type of schizophrenia.
Apparently, if she stays on her meds, she's okay.

(But Locke's isn't too interested in information about his mother. He sets the
papers on the table and deliberately pushes them aside. He's more interested in
the red folder.)

LOCKE: What about my father?

FRAINEY: Here's the thing. Your mother sought you out, so she's fair game, but
this guy -- maybe he doesn't even know you exist. I've done this enough times
to know this stuff isn't meant to be, even though it may feel that way. But
this probably won't have a happy ending.

(He looks at Locke.)

FRAINEY: So, ...

(He puts his hands down on the red folder.)

FRAINEY: ... do you want it or not?

LOCKE: (nods) I want it.

(Frainey slides the red folder across the table at Locke.)

CUT TO:



[EXT. ROAD - DAY -- FLASHBACK]

(A red VW bug, license #2ABM487, pulls up to a closed gate to a large home. The
security guard, Eddie, in the booth at the gate leans out.)

EDDIE (SECURITY GUARD): Your name is?

LOCKE: John. John Locke. I'm Anthony Cooper's son.

EDDIE (SECURITY GUARD): Mr. Cooper doesn't have a son.

(Locke notes the security camera at the top of the gate.

LOCKE: Tell him I don't want anything. My mother is Emily Locke. Please?

(Eddie nods.)

EDDIE (SECURITY GUARD): Just a minute. (He picks up a phone and makes the
call.) (to phone) Yeah, Mr. Cooper, I got John Locke here. Says he's your
son. Yes, sir. (to Locke) Well, you can go on in, sir.

(Eddie miles at him and points toward the house. The gates open and Locke
drives in.)

CUT TO:



[INT. COOPER RESIDENCE -- DAY -- FLASHBACK]

(Locke looks around the room. He notes the various framed photos lining the
mantle showing Anthony Cooper to be athletic, a hunter and sportsman.)

ANTHONY COOPER: (o.s.) Well, ...

(Locke turns and looks at Anthony Cooper.)

ANTHONY COOPER: ... this is awkward.

LOCKE: Thank you for seeing me, sir. I'm, uh, John.

(They shake hands.)

ANTHONY COOPER: Something tells me I'm gonna want a drink for this. You want a
drink?

(Anthony Cooper walks over to the table.)

LOCKE: Yeah, all right. Great.

ANTHONY COOPER: Scotch okay?

LOCKE: Yeah, that's --thanks.

ANTHONY COOPER: So, who found who?

LOCKE: I'm sorry, sir?

ANTHONY COOPER: Emily - your mother. Did she find you, or did you find her?

LOCKE: She found me.

ANTHONY COOPER: How did she look?

(Cooper hands Locke his drink.)

LOCKE: All right, I guess.

ANTHONY COOPER: She say anything about me?

LOCKE: She said I didn't have a father -- that I was 'immaculately conceived'.

(Cooper laughs.)

ANTHONY COOPER: Really? Well, I guess that makes me God, huh? I didn't even
know you existed until a year after you were born. She told me she wasn't even
gonna have the baby - y-you -- at all. Then she drops off the face of the
planet. When she turns up again, she's asking me for money, telling me she put
you up for adoption. You gonna drink that or what?

(Locke sips his drink.)

ANTHONY COOPER: You have a family of your own?

LOCKE: No, sir.

ANTHONY COOPER: Me neither. I tried it a couple times. It didn't take. Do
you hunt?

LOCKE: No, no.

ANTHONY COOPER: You're not one of those animal rights nut jobs, are ya?

LOCKE: No. No, sir.

ANTHONY COOPER: What are you doing this Sunday?

LOCKE: Nothing.

ANTHONY COOPER: You wanna go hunting?

LOCKE: Well, uh, yeah, well, I'd like that. Yeah, I'd like that very much.

(Locke smiles. Cooper raises his glass in a toast. Locke raises his own glass
and takes a sip.)

LOCKE: (v.o.) I had a dream last night.

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT.



[EXT. JUNGLE - THE HATCH -- DAY -- PRESENT]

(Locke and Boone are at the hatch. Boone listens as Locke talks.)

LOCKE: I asked for a sign. And then I saw a plane crash -- a Beechcraft out
there. (Locke points to the left.) It was a dream, but it was the most real
thing I've ever experienced. (quietly) I know where to go now.

BOONE: Go for what?

(Boone takes a sip of water.)

LOCKE: To find what we need to open this bastard up.

BOONE: Have you been using that wacky paste stuff that made me see my sister
get eaten?

LOCKE: No, (chuckles) Boone, no.

BOONE: 'Cause, John, I gotta tell ya, signs and dreams and --

LOCKE: (interrupts) Who's Theresa?

(Boone is startled silent.)

BOONE: What?

LOCKE: "Theresa falls up the stairs. Theresa falls down the stairs." (Boone
looks off to the side, remembering.) You were saying that in the dream.

(Boone looks at Locke.)

BOONE: How did you know about that?

(Locke puts his backpack on.)

LOCKE: I don't know, Boone, but we're supposed to go to this place. (he
points) We're supposed to find that plane. Will you come with me?

(Boone swallows and nods silently.)

(He packs up his stuff.)

BOONE: (mouths silently) Okay.

(Locke nods.)

CUT TO:



[EXT. BEACH - BOAT SITE - DAY]

(Jin and Michael are working on the boat. Jin puts a bamboo log up on the
surface where Michael is standing and working.)

(Jack walks up to them. Jin continues to put the bamboo logs up on the top,
handing them to Michael rather quickly.)

JACK: I was gonna ask you how this was going, but it's coming together fast.

(Jack walks to the side of the raft and looks at the surface at an angle,
clearly impressed by their progress.)

MICHAEL: The fire wasn't a total loss. We learned a few things from building
the first one, which is saving us from trial and error.

(Michael puts the log down.)

MICHAEL: Now it's just ...

(Michael glances at Jin who is looking over the work as he brushes the dust off
the palms of his hands.)

MICHAEL: ... trial.

JIN: (motions) (rapid Korean) (unsubtitled)

MICHAEL: Yeah, yeah, yeah, yeah.

JIN: (points to the ocean) (in Korean) (unsubtitled)

MICHAEL: Yeah, man, I know. Now, now, now.

JACK: Picking up on a little Korean there, Michael?

MICHAEL: Yeah, I'm pretty sure I know how to say, uh, "faster" and "idiot."

(Jack smiles and laughs. He turns and looks to the side. His smile fades at
what he sees.)

(Sawyer sits back against the trunk of a tree. He places a cold wet compress
over his eyes. Obviously, he's in pain.)

(Jack walks over to him.)



[JACK AND SAWYER -- CONTINUOUS]

JACK: I hear you're having trouble with your head.

(Sawyer removes the wet towel and looks at Jack.)

SAWYER: What, now she's got you making house calls?

(Jack notices Sawyer squinting.)

JACK: Sensitive to the light, too, huh?

SAWYER: You know what? I'm sensitive to you --

JACK: All right. We'll see ya.

(Jack turns and starts walking away. Sawyer stops him.)

SAWYER: Doc.

(Jack turns around.)

SAWYER: 'Sensitivity to light' -- that bad?

JACK: (shrugs) Depends.

SAWYER: On what?

JACK: On what's causing your headaches.

SAWYER: It's not like it's a tumor or something.

(Jack turns and walks back toward Sawyer.)

JACK: What makes you think it's a tumor?

SAWYER: (avoiding) I don't.

JACK: Great. Okay, then.

(Not wanting to play this game with him, Jack turns and starts to leave again.
Sawyer stops him.)

SAWYER: (calls out) My uncle.

(Jack stops and turns around. This time, Sawyer gets up and walks over to
Jack.)

SAWYER: He, uh, died of a brain tumor.

JACK: Yeah?

(Jack heads back toward Sawyer.)

SAWYER: That run in the family -- tumors?

JACK: What type of tumor was it?

SAWYER: The type that kills ya.

JACK: You smell anything funny? Brain tumors bring on phantom smells -- maybe
like something burning.

SAWYER: (shakes his head) Just headaches.

JACK: (nods) Well, I'm sure you're fine, then. (Jack turns around to leave,
but notices Sawyer's worried look.) Look, if this is worrying you, there's a
couple of tests that I could do --

SAWYER: Sorry, Doc. Sounds fun, but my insurance ran out.

(Jack chuckles wryly. Another one-liner.)

JACK: "Insurance ran out". That's a good one.

(Jack leaves.)

(Sawyer stands there and watches Jack go. He looks around, then lifts his nose
in the air and starts sniffing the air.)

CUT TO:



[EXT. JUNGLE -- DAY]

(Locke and Boone walk in the jungle.)

BOONE: I could have mentioned her name out by the hatch one day.

LOCKE: Who?

BOONE: Theresa. Maybe I was talking to myself.

(Locke takes out what looks like a compass and looks at it.)

LOCKE: Maybe. But you didn't.

(He closes the compass and tucks it back into his pocket. They head off to the
left.)

BOONE: So in this dream, you saw a plane crash, right?

LOCKE: Yeah.

BOONE: Okay, the fact that we were all just in a plane crash -- you didn't
think for one sec -

(Locke suddenly collapses.)

LOCKE: ow.

(Boone puts his backpack down and reaches out to help Locke.)

BOONE: John, you okay?

(Locke brushes him aside.)

LOCKE: I'm fine.

(Locke slowly gets up.)

BOONE: What is wrong with your leg?

LOCKE: I'm fine.

(Locke stands up. He moves to put his backpack on, then freezes. Because he's
facing Boone, Boone only sees Locke's expression.)

BOONE: What?

(Locke reaches out behind Boone and removes some rosary beads with a cross
hanging from the nearby tree. He holds them out to Boone who takes it and looks
at it.)

(Locke, meanwhile, is looking up into the trees.)

BOONE: Someone from camp hiked all the way out here?

(Locke turns and looks at Boone.)

LOCKE: Nope.

BOONE: Where do you think it came from?

(Locke tugs on the nearby tree vines.)

(A decomposed body dressed in priest's black clothes and white collar falls to
the ground. It startles Boone.)

BOONE: Aah!

(A centipede crawls out from the skull's eye socket.)

LOCKE: Him.

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. COOPER'S RESIDENCE - DRIVEWAY - DAY -- FLASHBACK]

(It's raining. The front gate opens. Locke pulls up alongside the security
kiosk.)

LOCKE: Morning, Eddie.

(Eddie leans forward.)

EDDIE (SECURITY GUARD): Morning, Mr. Locke. You gentlemen gonna get some birds
again?

LOCKE: I sure hope so.

(Eddie smiles and nods. Locke drives in.)

CUT TO:



[INT. COOPER RESIDENCE - DAY -- FLASHBACK]

(Locke walks up to the room and pushes the door open. Inside, Anthony Cooper is
hooked up to a dialysis machine. A nurse is there monitoring the machine.)

LOCKE: Anthony?

ANTHONY COOPER: You weren't supposed to be here till twelve.

LOCKE: I thought you said eleven.

(Locke steps into the room.)

LOCKE: What is this?

ANTHONY COOPER: It's a dialysis machine. My kidney's failing. Damn doctors
say I need a transplant.

LOCKE: When?

ANTHONY COOPER: Tomorrow, if it were up to me. I'm on the donor list. But I'm
an old man, and it's a long list.

LOCKE: H-how long -

ANTHONY COOPER: John, the dialysis will be fine for a while. I didn't tell you
for this exact reason. I'm not gonna let this spoil what's gonna be a fantastic
day, and neither should you. So, I'll get done here, and we'll have a nice
lunch and go shoot some birds.

(Camera holds on Locke.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT



[EXT. JUNGLE - DAY - PRESENT]

(Locke and Boone examine the dead body. Locke removes the 'pen' from the
"priest's" shirt pocket. Boone is hunched over and leafing through a small,
black pocket bible.)

BOONE: He was a priest. How long do you think he's been dead?

LOCKE: Normally, clothing would completely decompose within two years, but this
is high-quality polyester. (Locke opens the pen to reveal a letter-opener or
knife.) It could be two years, it could be ten.

(Boone takes the 'pen' and opens it, looking at the small knife.)

BOONE: wow.

LOCKE: Gold teeth -- obviously well-off.

(Locke takes out a wad of paper bills from the body's pants pocket.)

BOONE: What kind of money is that?

LOCKE: Nigerian Naira.

BOONE: What's a Nigerian priest doing on an island in the South Pacific?

(Locke also removes a handgun from the body's pocket.)

LOCKE: I'm not so sure he's a priest.

(Locke checks the clip.)

CUT TO:



[EXT. BEACH - BOAT SITE - DAY]

(Sawyer wets a blue cloth. He looks out at the ocean waves crashing into shore.
He's got a worried look on his face. He uses the wet cloth and dabs at his
eyes. He's obviously in pain.)

(Off screen, we hear the banging noises of metal being hammered.)

(The noise irritates Sawyer and he sighs.)

(He looks to the side and sees some survivors fixing up their shelters. One is
shaping a piece of metal, banging it with a club. Another person is pounding a
stick into the ground using the blunt end of a rock. The noise alone is killing
him.)

SAWYER: (irritated) You wanna keep it down?!

(The small group working on the shelter turns and looks at Sawyer.)

(He glares at them.)

(Kate walks up to him. Her hair is wet.)

KATE: That's it. Get up.

SAWYER: What?

(Kate grabs Sawyer's arm and pulls him to his feet.)

KATE: Get up. You're going to Jack.

SAWYER: (over his shoulder) Do I get a lollipop?

(Ignoring him, Kate pushes him forward.)

CUT TO:



[INT. CAVES - DAY]

(Jack examines Sawyer's eyes. He uses a pen, holding it upright and moving it
from left to right.)

JACK: When did the headaches start?

(Sawyer's eyes follow the pen's movement.)

SAWYER: Few days ago. A week, maybe.

(Kate is sitting nearby watching Jack and Sawyer. Sawyer glances at her.)

SAWYER: (irritably) Do you have to be here?

JACK: Do you have them when you wake up in the morning?

SAWYER: (shakes his head) Usually they hit me middle of the day.

(Jack starts to pull the pen back and forward.)

SAWYER: (blurts) What the hell are you doing with that thing?

JACK: Checking to see how your pupils respond to changing stimuli.

(Finished, Jack looks at Sawyer and nods slightly. He steps away.)

SAWYER: What's that -- that nod?

KATE: Would you just let him do his thing?

SAWYER: I'm letting him, but I wanna know what the hell he thinks I sh--

(Jack picks up a notebook and walks back toward Sawyer.)

JACK: I think you should just shut up and relax.

(Jack snaps his fingers near Sawyer's eyes, further irritating him.)

SAWYER: What the hell are you doing?

JACK: Have you ever had a blood transfusion?

SAWYER: What? No.

(Jack notes it down in the notebook.)

JACK: Taken pills for malaria?

SAWYER: Nope.

JACK: Have you ever had sex with a prostitute?

(Sawyer looks at Jack. Kate turns and looks at Sawyer.)

(Jack waits for the answer.)

SAWYER: What the hell's that got to do with anything?

JACK: Is that a yes?

SAWYER: (sighs) Yes.

JACK: And have you ever contracted a sexually transmitted disease?

(Sawyer doesn't answer.)

JACK: I take that as another yes. When was the last outbreak?

(Sawyer gets to his feet.)

SAWYER: Go to hell, doc.

(Sawyer leaves. Jack watches him go. Kate smiles.)

KATE: I know he deserved it, but --

JACK: (simply) He needs glasses.

(Jack nods. Kate suppresses a smile.)

(Camera holds on Jack.)

CUT TO:



[EXT. JUNGLE -- DAY]

(Locke has difficulty walking. He and Boone continue through the jungle. Boone
watches Locke struggle.)

BOONE: What's going on, John?

LOCKE: Nothing.

BOONE: You can barely walk, man.

LOCKE: It's the wound from the shrapnel.

BOONE: That's your right leg, John. What's wrong with your left?

LOCKE: I'm fine. Now, stop asking. (cc) Damn it.

(Locke collapses.)

(Boone rushes forward to help him. He grabs Locke's arm.)

BOONE: That's it. Let's go back.

LOCKE: No, I'm fine. I'm fine.

BOONE: No, you're not. Let me get you back to Jack.

(Locke pulls out of Boone's grip.)

LOCKE: No, Jack wouldn't know the first thing about what's wrong with me.

(Locke struggles to stand up on his own. He gets up, then takes a step. He
collapses on the ground, his legs buckling from under him.)

BOONE: John.

(Boone grabs Locke to help him.)

BOONE: We gotta get -

LOCKE: No, no.

(Locke pulls away from Boone. He falls back to the ground.)

BOONE: (helplessly) What is wrong with you? Are you crazy?

(Locke rubs his legs.)

LOCKE: I was in a wheelchair.

BOONE: What?

LOCKE: I was paralyzed for four years. The plane -- our plane -- I was in that
chair when we took off, but not after we crashed.

BOONE: Why were you in a wheelchair?

LOCKE: It doesn't matter anymore. But this island ... it changed me. It made
me whole. Now it's trying to take it back, and I don't know why. (Boone
swallows.) But it wants me to follow what I saw.

BOONE: What?

LOCKE: I know it sounds crazy. Four weeks ago, I wouldn't have believed it
myself, but you and I are here for a reason. There's something that we were
meant to find -- something that's gonna help us get into the hatch. I know it.
But we gotta keep going.

(Boone looks at Locke and nods.)

BOONE: Okay. Can you move your legs?

LOCKE: Just help me up, son.

BOONE: Okay.

(Boone grasps Locke's arms and helps him up. Locke stands up and collapses onto
Boone, leaning heavily on him.)

CUT TO:



[EXT. GRASSLANDS - DAY -- FLASHBACK]

(Locke and Anthony Cooper are walking through the grass. They're both carrying
rifles.)

ANTHONY COOPER: These doves fly a lot faster than you think. So you gotta
really lead 'em. If you have to drop it in high covering ...

(A dove suddenly flies out from the brush. Locke puts his rifle up and tracks
the dove. He fires.)

LOCKE: Got him.

(Off screen, we hear it hit the ground.)

ANTHONY COOPER: Yeah, you did. Good shot, son.

(Locke smiles at Cooper. He reaches down and picks up his shot cap off the
ground and tucks it into his bag.)

(They continue walking.)

ANTHONY COOPER: John, uh, your mother -- she may be a little crazy, but at
least she brought us together. Thank God it happened now, while we still have
time.

(They look at each other.)

ANTHONY COOPER: Let's find your bird.

(They continue walking.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT.



[EXT. JUNGLE - DAY -- PRESENT]

(Boone and Locke continue through the jungle. Boone is practically carrying
Locke as they go. Locke's legs are nearly useless under him.)

(Tired and exhausted, Boone puts Locke down. He collapses onto the ground.)

(Boone sits down nearby.)

BOONE: She was my nanny.

(Locke looks at Boone, puzzled by this sudden statement.)

BOONE: (explains) Theresa -- she was my nanny. (Boone tosses his backpack off
his shoulder.) My mother wasn't around much. I needed someone to take it out
on. My bedroom was at the top of this huge flight of stairs, and I would sit in
bed all day calling her on the intercom. One day she took a bad step, broke her
neck. I was six.

(Boone looks at Locke. That was a heavy confession from him. He waits for
Locke's response.)

(Locke looks back at Boone - beyond Boone - and sees something. Slowly, Locke
starts laughing, a huge smile on his face.)

(Irritated by Locke's reaction to his heartfelt and dark secret, Boone reaches
forward and grabs Locke by his shirt.)

BOONE: So what the hell is so funny?

(Locke points.)

(Boone whirls around and sees it.)

(Hanging precariously off the edge of the cliff and on the branches of the
nearby tree is the plane.)

(Locke can't stop chuckling. Boone lets Locke go. Locke pats Boone's hands as
he turns around to sit facing the airplane.)

(Boone smiles. He can't believe it.)

(Camera holds on the small airplane.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. JUNGLE -- DAY]

(OPEN ON: THE PLANE)

BOONE: (o.s.) Is that the plane you saw?

LOCKE: As best I can tell.

(Boone steps forward, his eyes on the small airplane.)

BOONE: You really saw it?

LOCKE: (nods) Yeah. I really saw it.

BOONE: How long do you think it's been there?

LOCKE: Doesn't matter. What's important is that we found it. And what's
important is what's inside it.

BOONE: What is inside of it, John?

LOCKE: You're gonna have to climb up there for us and find out.

(Boone turns and looks back at Locke.)

(He turns and looks at the climb.)

(Camera slowly pans up the side of the tall cliff - hard rocks covered with
overgrown tree roots.)

(Again, Boone turns and looks back at Locke. Obviously, Locke can't do it.)

(Locke looks at Boone.)

(Boone nods.)

BOONE: Okay.

(Boone starts to run toward the rocks. Locke watches him go.)

CUT TO:



[INT. HOSPITAL ROOM -- DAY -- FLASHBACK]

(Locke reaches out and grasps Anthony Cooper's hand in his. The two men are
side-by-side each in their own hospital bed.)

ANTHONY COOPER: You can still change your mind.

LOCKE: Nah, they already shaved my back

(The two men share a chuckle.)

ANTHONY COOPER: I'm so thankful for you, John.

(Locke pats their clasped hands.)

LOCKE: This was meant to be.

(Two nurses walk into the room with a gurney.)

ANTHONY COOPER: See ya on the other side, son.

(Camera holds on Locke.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT



[EXT. BEACH -- DAY]

(Jack carries a shoebox and heads over to Sawyer. Sawyer is sitting on the sand
reading a book, "A Wrinkle in Time", by Madeleine L'Engle.)

SAWYER: If you're looking for a stool sample, you can forget it.

(Jack puts the shoe box down on the sand and removes his backpack.)

JACK: You've been reading a lot since we came to the island.

SAWYER: Okay, so what?

(Jack puts the backpack down on the sand. He kneels down in front of Sawyer
thinking of a way to break the bad news to him.)

JACK: You, uh, you've got, uh, (sighs) you've got hyperopia.

SAWYER: Hyperopia? (Sawyer leans forward, his eyes wide - almost afraid to
ask.) That's, uh ... What is that?

JACK: You're farsighted.

SAWYER: Farsighted?

(Jack chuckles.)

JACK: Yeah.

(Jack reaches into the shoe box full of glasses. He picks out a blacked-framed
pair.)

JACK: It can develop later in life, especially when you add a new strain to the
eyes, like with reading.

(Sawyer closes his eyes in palpable relief. Jack opens the black pair of
glasses and holds it out to Sawyer.)

(Sawyer reluctantly reaches for it and puts it on. Jack holds the book out for
him.)

SAWYER: (shakes his head) Blurry.

(He removes the glasses.)

(Jack hands Sawyer a brown pair of glasses. Sawyer distastefully tries it on.
Jack holds out the book for him. Sawyer squints at the words.)

JACK: Better or worse?

(Sawyer sighs.)

SAWYER: Worse.

(Jack reaches into the box and pulls out a third pair of glasses. Sawyer stops
him.)

SAWYER: Unh-unh. No way.

JACK: Sawyer, it's not a fashion show.

(Jack holds out the glasses. Sawyer reluctantly takes them.)

CUT TO:



[SAYID]

(Sayid heats up the tip of metal. Using it as a soldering iron, Sayid picks up
the black-framed glasses and melts the center of the frame apart at the bridge.
He breaks the good right side from the broken left side.)

(He heats up the tip of metal and melts the center of a second pair of white-
framed bi-focal glasses.)

(He solders the two halves together - the black frame to the white frame to make
a pair of glasses Sawyer can use.)

(Cut to: He dunks the new pair into water. He tests the center hold of the new
pair.)

CUT TO:



[EXT. BEACH -- DAY]

(Jack holds out the notepaper with the blurry words on it:
BETTER OR WORSE?)

(Sawyer puts the new pair on. Instantly, the words are clear to him.)

SAWYER: Har har, very funny.

(Jack smiles and puts the notebook down.)

(Kate leans forward to look at Sawyer's new "look". Behind her, Hurley walks by
with a fishing pole clutched in his right hand.)

HURLEY: Dude, looks like someone steamrolled Harry Potter.

(Sawyer immediately removes the glasses. Kate starts laughing. Sawyer looks at
Jack who is smiling as he puts his backpack on.)

SAWYER: You love this, don't you?

(Knowing it's the best he's going to get, Jack walks up to him and pats him on
the shoulder. Sawyer will forever be Sawyer.)

JACK: You're welcome.

(Jack leaves.)

(Kate watches as Sawyer puts his new pair of frames on. He looks at Kate. She
leans forward to look at Sawyer. She nods and smiles.)

(Stuck with the new "look", Sawyer looks down and shakes his head.)

CUT TO:



[EXT. JUNGLE -- DAY]

(Boone is slowly climbing up the side of the cliff. Locke watches from the
ground below.)

(FAR SHOT shows us that Boone is half-way up. It's a hard climb, but not
impossible. Boone reaches for the next hand hold and slips a little.)

LOCKE: (quietly) Hang on.

(Boone continues to climb up.)

(Soon enough, he reaches the plane.)



[AIRPLANE]

(A close-up of the craft shows the overgrown vines and roots have been growing
over and through the plane for a while.)

(Boone climbs over the plane and lands on the plane's wing. The plane rocks
from the additional weight.)

(From the ground, Locke watches. We're given a brief view of the precarious
position of the plane, slightly pointed downward at an angle. It could give at
any moment.)

(Boone looks into the plane's broken window at what's inside. He reaches out
for the door and pulls it off its rusted, well-worn hinges. The door breaks
open easily. Boone drops it down the side of the cliff.)

(Boone climbs into the plane.)



[INT. PLANE - DAY - CONTINUOUS]

(Boone looks around the small aircraft. He finds some maps. Close-up of one of
the maps shows he's looking at NIGERIA. Boone looks at another map showing the
SAHARA.)

(The plane groans and creaks from the additional weight.)

(The plane tips over a little, the tree branch its resting on giving a little
from the weight.)

(Boone is thrown forward.)

(Another dead body lands on Boone's back.)

(He turns around, sees the decomposing body and starts yelling as he throws the
body off him.)

BOONE: Aah! Aah! Whoo!

LOCKE: (o.s.) Boone!



[LOCKE]

(Having heard Boone cry out, Locke is looking up at the plane.)

LOCKE: Boone!



[BOONE]

(Boone calms down and gets ahold of his fear.)

BOONE: (shouts) I'm fine!

(Boone stands up and sees something.)



[LOCKE]

(Not used to just sitting there, Locke struggles to get up. He places his hands
on the ground and forces his useless legs under him.)

(Determined, Locke pushes himself up to his feet. He looks at the plane and
takes an awkward step toward it.)



[ON BOONE]

(Boone takes a couple of steps closer to whatever has his attention.)



[LOCKE]

(Locke looks up at the plane.)

LOCKE: Boone, what do you see?



[BOONE]

(Boone reaches out and picks something up. His movements are slow as if he
can't believe what he's looking at.)



[LOCKE]

LOCKE: Boone!

INTERCUT WITH:

[BOONE]

BOONE: You wanna know what's in your damn plane, Locke?

(Boone is looking at a spilled wooden crate inside the plane. The crate has
small clay statues of the Virgin Mary in her blue robes.)

(He picks one up and looks out the plane door. He holds it up for Locke to
see.)

BOONE: Here's your sign.

(Boone throws the small statue out the plane. It smashes onto the ground to
reveal the little bags of heroin inside.)

(Locke looks at Boone. Boone heads back into the plane.)

(He grabs another statue inside the plane.)

BOONE: (shouts) They're drug smugglers, Locke. Heroin -- that's all that's in
here.

(Locke kneels down in front of the broken statue. He picks up the large piece
and tilts out two more heroin bags into the palm of his hand. He looks up.)

LOCKE: I don't understand. (He bites his lip and looks helplessly around him.)
I don't understand

(He drops the bag of drugs on the ground and rubs the top of his head.)

CUE SOUND: PLANE CREAKING

(Locke looks up at the plane.)

(Inside, Boone is near the cockpit. He looks at the maps and tosses them aside.
He brushes the overgrown vines aside as he looks around.)

(Then he sees it.)

(The radio.)

(Various numbers on the radio read: 1414, 12015 and 1102.)

(Boone reaches for the radio handset. He flicks it on the button on the control
panel and gets static.)

(From the ground, Locke watches.)

(The tree branch can barely take the weight. It creaks and tilts dangerously
off the edge of the cliff.)

(Inside, Boone is thrown a little.)

(The plane stops moving.)

(Locke watches the plane bob up and down.)

LOCKE: (shouts) Boone! Boone, get out!

(In pain, Boone reaches for the handset pushes himself up to try the radio
again.)

BOONE: (to radio) Hello. Hello. Anybody out there? Mayday, mayday.



[LOCKE]

LOCKE: Boone, there's no time. Get out now!



[BOONE]

VOICE (MAN): (from radio) Is someone there?

BOONE: (to radio) Hello! Hello!

(Boone gets more static.)

BOONE: (to radio) Can you hear me?

VOICE (MAN): (from radio) Repeat your transmission, please.



[LOCKE]

(The plane creaks and bobs. It's not going to last much longer.)



[BOONE]

BOONE: (to radio) Hello, we're survivors of the crash of Oceanic Flight 815.

LOCKE: (o.s.) Boone, get out!

BOONE: (to radio) Please copy.

VOICE (MAN): (from radio) Hello ...

LOCKE: Get out now!

VOICE (MAN): (from radio) (muffled through burst of static) ... survivors of
Oceanic Flight 815.

[Notes: In the May 29, 2005, issue of TV Guide (p.26), "You Asked, They Answered
(If a Bit Cryptically)", Damon Lindelof confirms that Boone heard, "We're the
survivors ... ". On April 1, 2005, Damon Lindelof writes at the Fuselage that
they "purposefully put the CREAK over the first part of the transmission...".]



[LOCKE]

(The plane starts to tilt as the tree branch under it gives way.)



[BOONE]

(Boone can't believe what he just heard.)



[AIRPLANE]

(The small airplane falls off the side of the cliff, crashing nose first into
the ground below.)

(Boone is taken by surprise.)

BOONE: Ahh! Ahh!

(Locke watches as the plane creaks, The tail end of the small plane flips over
completely, hitting the ground with a thud. The small craft is flipped over,
wheels-up in the air.)

(Locke grunts with pain and frustration as he tries desperately to get to his
feet. He pushes himself up. His legs don't work completely well, but they
work.)

(Locke tries to run to the plane. He takes a couple of steps and falls on his
face. He pushes himself up, forcing himself to stand. He makes it to the
plane.)



[INT. PLANE - CONTINUOUS]

(Locke looks inside the plane. He moves aside a long box with a blurry address
inked on its side:
HILTON TOOLS & MACHINE
BRONX 60, N.Y.
?IN (too blurry)
PIN (too blurry)
(He pushes the crates and pieces of wood and metal aside looking for Boone.)

(Under all the crates and wooden pieces Locke throws out of the plane, amidst
the small clay statues of the Virgin Mary in her blue robes, Locke finds Boone
conscious and bleeding.)

(Boone blinks.)

(Locke reaches in and grabs Boone. Boone can barely move or speak.)

(Locke pulls Boone out of the plane.)



[EXT. PLANE - CONTINUOUS]

(Locke grunts in pain and frustration as he struggles to pick Boone up over his
shoulders. Securing Boone and locking his hands together at Boone's wrist to
keep him from falling, Locke takes step after step, forcing his legs to move.)

(Locke heads back to the caves.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. CAVES -- EVENING]

(Jack is looking at a laptop in a case. Kate walks up to him.)

KATE: So, did you know before or after you asked him about his latest outbreak?

(Kate sits down.)

JACK: Well, I'd answer that, Kate, but, you know, doctor-patient
confidentiality.

KATE: (nods) Of course.

(Jack sits down near Kate.)

KATE: Thank you for helping him. I know it's probably the last thing you
wanted to do.

JACK: I didn't do it for him.

(He turns and looks at Kate.)

(Kate smiles. They share a moment.)

LOCKE: (o.s.) Jack!

(Jack turns.)

(Locke walks into the cave carrying Boone over his shoulders.)

LOCKE: Help!

(Jack stands up. Locke walks over to him and gets ready to put Boone down.
Jack stops him.)

JACK: No, no, no, no. Put him down up here.

(Jack points and leads Locke into the infirmary cave. Locke steps into the
cave. Jack scrambles to guide Boone onto the area he wants.)

JACK: All right. All right, that's it.

(Locke sits down, backing up to slip Boone off his shoulders.)

JACK: Easy.
JACK: Easy.

(Locke puts Boone down. Jack leans in close putting his ear to Boone's mouth to
check if Boone is breathing. Kate steps up to see Boone.)

JACK: (to Locke) What happened?

LOCKE: There was an accident. Boone fell off a cliff out near the place we
were hunting.

(Jack looks at Boone. He reaches down and tears Boone's shirt open. Boone's
chest is shredded, flesh and blood mulched. It looks really bad.)

(Kate puts a hand over her mouth at the sight. Locke closes his eyes and hangs
his head at the damage.)

JACK: (to Kate) Okay, I'm gonna need some water. Shirts, towels -- anything
that I can use to stanch the bleeding.

KATE: Okay, okay.

(But Kate can't seem to take her eyes off of Boone. She doesn't move. Jack
turns and looks at Kate.)

JACK: Kate! Now! Please.

(Kate turns to get the things.)

(Locke has moved away from Boone and back toward the mouth of the cave. He
looks back at Boone and Jack.)

(Jack looks at Boone.)

JACK: John, tell me exactly what happened.

(Jack turns to get some supplies.)

(There's no answer. He looks up and back where he thought Locke was standing.)

JACK: John?

(Locke is gone.)

(All Jack sees are some survivors watching in the distance. Everyone in pairs
with looks of shock on their faces.)

(He doesn't see Locke among them.)

JACK: (shouts) Locke! Locke!

(Kate, who has been getting the water and rags, turns when Jack starts
shouting.)

(Jack looks around for Locke.)

JACK: (shouts) Locke!

SMASH CUT TO:



[INT. HOSPITAL - DAY -- FLASHBACK]

(It's post-op. Locke opens his eyes.)

(He turns and sees the empty bed next to him.)

(He looks down at his hand and at the nurse who is checking his pulse. The
nurse looks at him and smiles.)

NURSE: I think what you did was so kind.

LOCKE: Where's my father?

NURSE: Who?

LOCKE: We had the transplant together.

(The nurse picks up the clipboard and writes on it.)

NURSE: I didn't know he was your father.

LOCKE: We don't have the same last name, but ... where is he?

NURSE: Mr. Cooper checked out this afternoon. (She smiles at him.) He went
back home. He's under private care.

LOCKE: That doesn't make any - why? -- Did he leave me a message?

NURSE: No, not that I know of. You just relax, Mr. Locke. I'm gonna get you
some juice.

(The nurse walks out of the room.)

(Locke tries to sit up and gasps at the pain from the surgery. He lies back
down, closes his eyes and waits for the pain to pass.)

EMILY LOCKE: (o.s.) It was his idea.

(Locke opens his eyes. He turns and sees Emily Locke standing in the doorway.)

EMILY LOCKE: I'm sorry, John.

LOCKE: What are you doing here?

(She steps into the room.)

EMILY LOCKE: I needed some money. He's always been good that way. Your
father's always been generous.

LOCKE: You told me I didn't have a father.

EMILY LOCKE: Well, he said that was the only way you would give it to him. It
had to be your idea. (Locke sighs as he catches on to what happened.) He told
me where to find you. He-he asked me to go see you. (Emily steps closer.) I
wanted to see you.

(Locke holds up his hand at her to stop. He doesn't want her any closer.)

LOCKE: (groans) This can't be happening. This - this is a misunderstanding.
Oh. This can't --this can't happen to me.

(Locke looks over at the empty bed.)

LOCKE: He wouldn't do this to me.

(He looks at Emily who smiles sadly back at him.)

LOCKE: (crying) He wouldn't do this to me!

(Locke grabs his IV tube and rips it out from the back of his right hand. He
removes the tape and tosses it aside.)

(Locke slowly rolls out of bed.)

(Emily looks at him.)

(Through his tears, Locke glares back at her, not saying a word.)

CUT TO:



[EXT. COOPER REISDENCE - DAY -- FLASHBACK]

(The red VW pulls up to the gate.)

LOCKE: Eddie! (Locke rolls down his window.) Eddie, open the gate.

EDDIE (SECURITY GUARD): Mr. Cooper's not seeing guests.

LOCKE: I'm not a guest!

EDDIE (SECURITY GUARD): I'm sorry, John.

(Locke parks the car, kills the engine and engages the brakes. He gets out of
the car. As he steps out of the car, we see the back of his white shirt spotted
with blood from the surgery.)

LOCKE: Eddie, open the gate.

(Locke shuts the car door.)

EDDIE (SECURITY GUARD): I'm sorry. I'm gonna need you to move your car.

(Locke walks over to the gate.)

(The security camera moves, following him. He glances up at the camera.)

LOCKE: (softly) I know you're watching me. You can't do this.

EDDIE (SECURITY GUARD): John, please, move your car.

(With one last look at the gate, Locke turns back to his car.)

SHORT TIME CUT TO:



[INT. CAR (MOVING) -- DAY -- FLASHBACK]

(Locke is driving away. He hits the rear view mirror with his hand.)

(He hits the car ceiling with the palm of his hand.)

LOCKE: (cries out) God!

(He hits the car ceiling again and again and again.)

(Locke stops the car.)

LOCKE: (wails) God!

(He puts his head down on the steering wheel and cries.)

(Camera holds on Locke as he looks out in front of him.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT.



[EXT. JUNGLE -- THE HATCH - NIGHT -- PRESENT]

(Camera starts from the dark skies and the trees above. Through the darkness,
we hear Locke sobbing.)

(Camera slowly moves down and we find Locke on his knees on the hatch, his head
buried in his hands as he's hunched over the sealed hatch window. His shirt is
soaked with Boone's blood.)

(Wracked with guilt, he helplessly pounds his fist against the hatch window.)

LOCKE: (shouts in agony) I've done everything you wanted me to do, so why did
you do this to me?!

(Locke continues to cry against the dark hatch window.)

(After a moment, the hatch window lights up from within.)

(Locke stops crying and pulls back a little.)

(Locke looks at the window and the light inside.)

FADE OUT TO:



[TITLE LOGO: LOST]

FADE TO BLACK.

==========================
THE END
==========================

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Transcriptionist.

==========================
TITLE/OPENING CREDITS
==========================
LOST
1X19: DEUS EX MACHINA
ORIGINAL AIR DATE ON ABC: 03/30/2005
TRANSCRIBED FROM ABC

Starring:
NAVEEN ANDREWS as Sayid
EMILIE DE RAVIN as Claire (Littleton)
MATTHEW FOX as Jack (Shephard)

JORGE GARCIA as "Hurley" (Hugo Reyes)
MAGGIE GRACE as Shannon (Rutherford)
JOSH HOLLOWAY as "Sawyer" (James Ford)

MALCOLM DAVID KELLEY as Walt
DANIEL DAE KIM as Jin (-Soo Kwon)
YUNJIN KIM as Sun (Kwon)

EVANGELINE LILLY as "Kate" (Katherine Austin)
DOMINIC MONAGHAN as Charlie (Pace)
TERRY O'QUINN as (John) Locke

HAROLD PERRINEAU as Michael (Dawson)
IAN SOMERHALDER as Boone (Carlyle)

(uncredited)
MADISON as Vincent

Created by: JEFFREY LIEBER and J.J. ABRAMS & DAMON LINDELOF

Guest Starring
SWOOSIE KURTZ as Emily Annabeth Locke
KEVIN TIGHE as Cooper

Music by: MICHAEL GIACCHINO
Edited by: STEPHEN SEMEL
Production Designer: STEPHEN STORER

Director of Photography: MICHAEL BONVILLAIN, A.S.C.

Executive Producer: J.J. ABRAMS
Executive Producer: DAMON LINDELOF
Executive Producer: BRYAN BURK
Executive Producer: JACK BENDER
Executive Producer: CARLTON CUSE

Co-Executive Producer: DAVID FURY
Co-Executive Producer: JESSE ALEXANDER
Supervising Producer: JAVIER GRILLO-MARXUACH

Producer: EDWARD KITSIS
Producer: ADAM HOROWITZ

Producer: LEONARD DICK
Producer: SARAH CAPLAN
Produced by: JEAN HIGGINS

Written by CARLTON CUSE & DAMON LINDELOF
Directed by ROBERT MANDEL

==========================
END & OTHER CREDITS
==========================

Bad Robot
Touchstone Television

Co-Producer: RA'UF GLASGOW
Co-Producer: JENNIFER JOHNSON

Story Editor: PAUIL DINI

Co-Starring:
LAWRENCE A. MANDLEY as Frainey
GEORGE O'HANLON as Eddie
JULIE OW as Nurse
TYLER BURNS LAUDOWICZ as Kid

Casting by: APRIL WEBSTER, C.S.A.
Casting by: MANDY SHERMAN, C.S.A.
Casting by: VERONICA COLLINS

Hawaii Casting by: ANNA FISHBURN
Unit Production Manager: PAT CHURCHILL
First Assistant Director: ALLEN DIGIOIA
Second Assistant Director: KRIS KRENGEL

Costume Designer: BILLY RAY MCKENNA
Costume Supervisor: ROLAND SANCHEZ
Make-Up Artist: STEVE LAPORTE
Hair Stylist: SUSAN SCHULER

Art Director: MIMI GRAMATKY
Set Decorator: RICK ROMER
Script Supervisor: PATTI DALZELL
Property Master: DOUG MADISON
Location Managers: JIM TRIPLETT

Production Coordinator: DAY PERMUY
Camera Operators: PAUL EDWARDS / GARY CAMP
Chief Lighting Technician: JIM GRCE
Key Grip: CHUCK SMALLWOOD
Production Sound Mixer: MICHAEL MOORE
Stunt Coordinator: MICHAEL VENDRELL
Special Effects Supervisor: ARCHIE K. AHUNA

Supervising Sound Editor: TREVOR JOLLY
Re-recording Mixers: SCOTT WEBER / FRANK MORRONA, M.P.S.E.
Music Editor: STEPHEN M. DAVIS

Post Production Supervisor: TAMARA ISAAC
Assistant Editor: LUCYNA WOJCIOCHOWSKI
Post Production Services: TECHNICOLOR CREATIVE SERVICES

Production Staff: DIANNE MAPP-CHEEK, GARY BROWER, MICHAEL GILDAY, JOHN LEE,
BRIAN COSTA, RACHEL WHITLEY, CLAUDETTE WADDLE, JOHN KAPRAL

Visual Effects Supervisor: KEVIN BLANK

Filmed on location on Oahu, Hawaii

The producers gratefully acknowledge the cooperation of the people of Hawaii and
their Aloha Spirit.

(c) 2005 Touchstone Television. All Rights Reserved.

Dated:06/06/2005~lky, 04/01/2005~lky
http://anthology.webphilia.com/
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