LOST
"Solitary"
Written by
David Fury
TEASER
EXT. UNFAMILIAR BEACH - DAY 1
1
XCU - A MAN'S BLOODSHOT EYE, as it scans something...
WIDEN to find SAYID, sitting in the sand, alone -- staring at
a photograph in his hand, running his fingers over it.
HIS POV - It's one of the retrieved photos from the fuselage
in "Walkabout" -- The mysterious ARAB WOMAN.
EXTREME WIDE SHOT to see just how alone he is. The beach is
empty as far as the eye can see as Sayid shoves the photo
into his nearby backpack, and stands...
CLOSER AGAIN as he stares down the lonely stretch of beach
before him, then stops when something catches his eye:
A SMALL LOOP OF CABLE, jutting out of the sand, the sun
GLINTING off exposed metal wiring where the coating's eroded.
Sayid moves to it, reaches down to pick it up. When he does -
A STAGGERING LENGTH OF CABLE bursts out of the sand, running
in a straight line from the ocean, running toward the jungle.
ON SAYID -- he reacts, stunned. What the hell? He snatches
up his bag and begins to track the wire into the jungle.
2
2 INT. SAWYER'S TENT - MEANWHILE
CLOSE ON a bandaged arm as fingers slowly pry up the adhesive
tape around the dressing.
SAWYER (O.S.)
Ow! -- Easy, jackass!
Widen to find JACK sitting next to a reclining SAWYER,
removing his bandage. Fresh gauze and tape lie beside Jack.
JACK
You want it easy, quit moaning.
I've got to change these bandages --
SAWYER
Yeah, well, try not taking my skin
off with `em.
2 (CON T'D) 2
JACK
Hold. Still.
Sawyer eyes Jack a beat as he continues easing off the tape.
SAWYER
So, considerin' we pretty much hate
each other, how'd I score the house
call, Dr. Quinn?
(then, baiting him)
Tryin' to ease your conscience?
And Jack does his best not to take that bait --
JACK
My conscience is fine, thanks.
SAWYER JACK
Yeah?
-- Yeah.
SAWYER
`Course -- what you got to feel
guilty about? You let that damn
Arab torture me. Stood by and
watched. So now you just patch me
up and you get your ticket into
heaven. Only reason you're here
is...
JACK
I'm here --
(locks eyes with Sawyer;
intense)
Because no one else wants anything
to do with you.
Sawyer takes that in a moment, soberly. Then...
SAWYER
She does.
Jack glances up at him on that. Then, he stands and tosses
the fresh bandaging and tape he brought onto Sawyer's lap.
JACK
Change your own damn bandages.
He turns and goes.
OFF SAWYER - glaring after him...
EXT. BEACH - CONTINUOUS 3
3
ON KATE, feeding wood into the signal fire Sayid created as
she stares off down the beach, keeping a kind of vigil...
JACK (O.S.)
Looking for someone...?
Kate turns to see Jack coming up behind her.
JACK (CONT'D)
-- Or just admiring the view?
Still harboring anger, Kate turns back toward the beach.
KATE
It's been two days, Jack.
JACK
What?
KATE
Two days since Sayid took off on
his own.
(beat)
I keep thinking I'm gonna look up
and see him coming back.
ON JACK, registering that, and feeling badly about it.
JACK
He'll come back when he finds what
he's looking for. The French
transmission...
KATE
He wasn't looking for anything --
He left because of what happened...
because of what he did.
Jack shakes his head. Got it from Sawyer -- now her too?
JACK
It was an accident --
KATE
(sharply)
-- Yeah, well, accidents happen
when you torture somebody, Jack.
Jack can only look at her, feeling ashamed. Kate looks back
at him for a beat, maybe feeling a little sorry --
LOST "Solitary" (PINK) 10/5/04 4.
3 (CON T'D) 3
KATE (CONT'D)
I'm worried about him. He's out
there. Alone.
JACK
(comforting)
Sayid's a trained soldier, Kate.
He can take care of himself.
4
EXT. JUNGLE - DAY
4
WITH SAYID as he tracks the cable deeper into the jungle,
until he, suddenly, comes to an abrupt halt -- and slowly
lowers himself to a crouch in order to get a good look at
something at mid-calf level.
REVERSE ON HIM as he leans in. RACK FOCUS to reveal... A
TRIP WIRE - fishing line, stretched across his path. Clearly
a booby-trap.
ON SAYID - HOLY SHIT! Somebody is or was here. His head
snaps around, scanning the area, then rises. After a beat,
he, carefully, steps over the wire and takes another step.
CLOSE ON HIS FOOT as -- CLICK!
SAYID looks down, realizing he's stepped on a pressure
trigger. What happens next happens instantly: he curses
himself under his breath --
SAYID
Ya Allah--
-- as a noose under his foot ensnares him and he's yanked off
his feet, into the air. As the rope goes taut, his body
pendulums HARD into a tree. SLAM! --
QUICK CLOSE UP of his thigh getting impaled on a broken
branch jutting from the tree, causing him to cry out. As he
swings away from the tree, he takes the branch with him...
WIDE ON SAYID, hanging twenty feet off the ground, swinging
upside down, the broken branch protruding from his leg -- His
SCREAMS piercing the quiet jungle...
BLACK OUT.
END OF TEASER
LOST "Solitary" (PINK) 10/5/04 5.
ACT ONE
INT. THE VALLEY - EVENING 5
5
CLOSE ON MEAT ON A SPIT, as a knife carves off slices. WIDEN
to see LOCKE doing the butchering as he serves a few waiting
people, including HURLEY, holding airplane trays and whatever
else passes as a plate or bowl in this place.
AN ESTABLISHING PAN ACROSS - We find the dozen denizens of
the valley, including MICHAEL and CHARLIE, eating their
dinners, tearing away the fatty grizzle. While some may sit
here quietly -- depressed -- others seem, considering
everything, to be doing all right: some are talking.
CHARLIE, still going through late stage withdrawal, puts down
his barely touched food, clearly having no appetite as
SHANNON walks by, holding an empty water bottle. We follow
her as she crosses to the spring. We find WALT there,
feeding pieces of meat to VINCENT who then starts lapping up
water in the pool.
ON SHANNON, as she sees that.
SHANNON
(to Walt)
Ew -- Get him out of there!
WALT
What?
SHANNON
The dog, Webster! It's drinking
our water!
MICHAEL (O.S.)
Hey --
MICHAEL steps in
MICHAEL (CONT'D)
Do not yell at my kid. What's the
problem?
SHANNON
My problem? I walked all the way
from the beach to get something to
drink... and your animal's drooling
in our water supply.
Hurley passes by with two trays of boar meat.
LOST "Solitary" (PINK) 10/5/04 6.
5 (CON T'D) 5
HURLEY
Y'know, dogs' mouths are cleaner
than humans'.
SHANNON
Nobody asked you.
HURLEY shakes his head and continues on as VINCENT suddenly
hops into the pool, wading around to SHANNON's horror.
SHANNON (CONT'D)
Oh my God -- DO SOMETHING!
6
INT. THE VALLEY - INFIRMARY CAVE - CONTINUOUS
6
ON JACK, examining the side of a shirtless SULLIVAN (late
forties, thin). SUN is there, too, mashing aloe leaves in a
bowl, showing concern about all the yelling outside. Hurley
enters with the food. Jack glances at him.
JACK
What's going on out there?
HURLEY
Ah, you know, the usual... People
yelling at each other over nothing.
SULLIVAN
So, what do you think, Doc? This
rash... It's bad, isn't it? Some
kinda jungle disease... or--
JACK
Hives.
SULLIVAN
Hives. What is that, like, a
poison ivy--
JACK
It's a common rash, Sullivan.
Brought on by heat. And stress.
Just try to relax. It'll clear up.
SULLIVAN
You sure? I mean... It really
itches. And... burns a little.
SUN
(in Korean)
It's ready.
LOST "Solitary" (PINK) 10/5/04 7.
6 (CON T'D) 6
Jack turns to Sun who hands him the bowl. He nods gratefully
to her and she goes. Jack passes the bowl to Sullivan.
JACK
Here. This should help with the
itching. And the burning. Just...
try to get your mind off it.
SULLIVAN
Uh... O-okay. Thanks.
He turns and exits. After he's gone, Hurley hands Jack a
tray of food. As they move to sit...
HURLEY
"Get your mind off it?" What else
is that dude gonna do but stress?
JACK
I've got enough on my plate without
having to treat hypochondriacs.
HURLEY
That's, like, my point, man. We're
all fried. I mean, have you taken
a look at those people out there?
Everybody's way tense... y'know,
since we were in a plane crash?
And Sayid splitting like that.
(then)
Plus... we got, like, no real plan
to get off this island...
Jack looks wearily at Hurley, who backs off a little.
HURLEY (CONT'D)
I'm just saying... It'd be sweet
to have something to, y'know... do.
JACK
Look, I sympathize. But we're
surviving. That's my main concern
right now. Keeping us alive.
(then)
Things could be worse.
Hurley considers that for a moment, then:
HURLEY
How?
EXT. JUNGLE - MEANWHILE 7
7
WIDE ON SAYID, hanging upside down, impaled by the branch.
Nothing but his labored breaths and the sounds of the jungle.
CLOSER as he, with great effort and GRUNTING IN PAIN, pulls
himself up, and tries to pry the branch from his leg.
Failing, after several agonizing seconds, he falls back.
WIDE AGAIN, as his screams echo through the jungle.
ON SAYID, as the pain subsides, he closes his eyes and begins
to mutter something. We realize he's praying in ARABIC --
SAYID
There is no divinity except God.
What God has willed must be --
Suddenly there's a noise. Twigs snapping. Sayid's head
snaps around. He looks into the dense brush, seeing nothing.
Then, another noise... A rhythmic rubbing sound...
SAYID (CONT'D)
Hel--Hello?
CLOSE ON the pulley rig responsible for suspending him. TILT
DOWN to a GLOVED HAND cutting the taut rope with a machete.
ON SAYID -- the instant he realizes what's happening -- The
rope is severed and he plummets downward. WHAM! Sayid
lands, his head slamming hard into the ground. Barely
conscious, head bleeding, he looks and sees:
HIS POV - BLURRY - A FIGURE standing in the shadows at the
edge of the dense jungle, looking at him.
SAYID registers that for a split second before he passes out.
DISSOLVE TO WHITE... Under which we hear a VOICE -- sounding
distant, distorted, almost as if underwater -- asking
something... Gradually, the Voice becomes clearer and we
realize it's speaking RUSSIAN. Then, PORTUGUESE...
8
8 INT. HABITAT - LATER
DISSOLVE IN CLOSE ON SAYID as his eyes flutter open,
squinting against a BRIGHT LIGHT shining in his face. His
head's been carelessly bandaged. As he hears:
FIGURE
(in Italian)
Where is Alex?
8 (CON T'D) 8
SAYID
(weakly)
Wha-- What...?
WIDEN as Sayid tries to move, and discovers his hands are
chained to a rusty metal cot, wires running from it.
FIGURE
Where is Alex?
He peers past the light into the dark corner of the room. We
see the FIGURE sitting there in the shadows.
SAYID
Who-- Who are you?
FIGURE
(more demanding)
Where... is... Alex?
SAYID
I... I don't-- I don't know what --
ON THE FIGURE's HAND as it moves a wire to a METAL POST
protruding from a bank of BATTERIES. The LIGHT DIMS as
SAYID suddenly lurches -- a considerable voltage of
electricity is pumped into the cot. We hear the HUM of the
current accompanied by Sayid's grunts, until...
ON FIGURE - as the wire is removed, the LIGHT brightens
again. Sayid falls back onto the cot, short gasping breaths.
VOICE SAYID
Where is Alex? -- Please -- Listen to me...
I don't know any Alex. I'm --
The Figure touches the post with the wire. The LIGHT DIMS.
SAYID again lurches. PUSH IN ON HIM as he shouts:
SAYID (CONT'D)
STOP! -- SssTOP!!!
PRISONER (PRE-LAP)
(in Arabic)
Stop...
INT. IRAQI BASE - INTERROGATION ROOM - DAY - FLASHBACK 9
9
CLOSE ON AN IRAQI PRISONER, face bruised, lip bleeding --
hands tied in front, his feet shackled to the legs of a chair
in the middle of the room, muttering, shaking his head...
9 (CON T'D) 9
PRISONER
(in Arabic)
Stop...
POW! He's punched across his jaw. SWING around to reveal...
SAYID, in Republican Guard uniform, shaking off the pain in
his knuckles. Behind him, leaning on a wall, next to a desk,
arms folded, an Iraqi officer -- OMAR, watches with interest.
SAYID
(to Prisoner, in Arabic)
You want me to stop, Falah? Then
start answering my questions,
because I can do this all day...
PUSH IN as he puts his mouth right up to the Prisoner's ear.
SAYID (CONT'D)
I assure you we already know the
truth. But I want you to admit it.
CLOSE ON SAYID'S MOUTH NOW, as the dialogue turns to ENGLISH
(Yes, the ol' "Hunt for Red October" bit), and we start to
slowly PULL OUT again, as Sayid straightens.
SAYID (CONT'D)
...And all the pain will stop...
Your Shi'ite friends have already
implicated you in the bombing.
PRISONER
You're... you're lying. They would
never --
SAYID
They would and they have. You
planned the attack, Falah. You
planted the device in Najaf -- the
Baathist headquarters. You killed
two soldiers, yes?
FALAH stares up at him through swollen eyes.
PRISONER SAYID
I had nothing... nothing -- Confess it. And perhaps
to... do... it will only cost you your
hands instead of your life.
CLOSE ON FALAH - He opens his mouth to speak, but instead, he
throws his head to the side and vomits BELOW FRAME.
9 (CON T'D) (2) 9
ON SAYID, stepping back, looking a little unnerved. PUSH
past him to see OMAR as a grin comes to his lips...
EXT. IRAQI BASE - LATER - FLASHBACK 10
10
OMAR and SAYID exit the building. An Iraqi GUARD stationed
at the door salutes Omar. He returns the salute. As they
walk, the CAMERA arcs around them, we see (through the magic
of GREEN SCREEN) a desert landscape beyond the army camp.
SAYID
He doesn't know anything. Your
sources were wrong.
OMAR
(with a shrug)
Perhaps. But that's really not the
point, is it? You handled yourself
well in there.
SAYID
Did I?
OMAR
I'll put in for your reassignment
to the Intelligence Division, if
you still wish it.
Sayid halts, a big smile crosses his face.
SAYID
Yes, sir. Very much so.
OMAR
(returning the smile)
Good... But stop calling me "sir"
when it's just the two of us.
SAYID
You're my superior officer, Omar.
For now. Enjoy it while you can.
Past them, we see TWO ARMED GUARDS, walking in their
direction, escorting a FEMALE PRISONER.
OMAR
That reminds me... a promotion is
commensurate with your move...
As the FEMALE PRISONER passes, Sayid throws a glance at her.
10 (CON T'D) 10
SLIGHT SLO-MO as she glances back at him and we may
recognize... It's the woman in the photo Sayid carries. But
Sayid appears only to register some small recognition.
OMAR (O.S.) (CONT'D)
That is, if you won't miss being a
Communications Officer.
SAYID
I'm willing to make that sacrifice.
OFF SAYID, grinning...
11
INT. THE VALLEY - NIGHT
11
CLOSE ON BAGS - a long vinyl one and a canvas suitcase -
dumped on the ground.
WIDEN to see they've been dropped next to HURLEY sitting by a
campfire. The rest of the camp is quiet, as everybody else
has turned in. Hurley looks up at
ETHAN (thirties, unassuming, oddly still) standing by him.
ETHAN
Hi.
Hurley peers up at him, unsurely. Then, at the bags.
HURLEY
Yo. What's this?
LOCKE appears, dropping a third bag as Hurley stands.
LOCKE
These were in the jungle. Must
have fallen from the plane.
HURLEY
Uh... What were you guys doing out
in the jungle at night?
ETHAN
Best time to hunt.
LOCKE
Ethan here's got some experience...
ANGLE ON WALT, sitting up in his cubby, watching and
listening. His father seemingly asleep next to him.
11 (CON T'D) 11
LOCKE (CONT'D)
Spotted tracks we think might be
rabbit or some other rodent.
HURLEY
Rodent. Yum.
ETHAN
Figured people are starting to get
tired of eating boar meat.
(raises his eyebrows)
Variety is the spice of life.
HURLEY
Dude, you got that right.
(then)
Okay. I'll check out the bags.
See if there's anything useful we
can... y'know... use. Thanks.
Hurley grabs a suitcase and starts going through it. ON
LOCKE and ETHAN moving out when they hear:
WALT (O.S.)
Mr. Locke...
Ethan moves on as Locke turns and sees Walt walking up,
speaking quietly.
WALT (CONT'D)
Are you going back out to hunt?
LOCKE
For a bit.
WALT
Well... Can I go with you?
(off Locke's look)
I mean, I wanna learn how to...
Y'know, hunt and--
MICHAEL (O.S.)
Walt -- !
Walt, busted, looks back to see:
MICHAEL, sitting up, looking at him.
WALT
I was just... I was talking to Mr.
Locke about--
LOST "Solitary" (PINK) 10/5/04 14.
11 (CON T'D) (2) 11
MICHAEL
I know what you're doing, man. Not
gonna happen. Get back to bed.
Walt glares at his dad, embarrassed and frustrated. He peers
at Locke for a moment, then stalks to his cubby as Michael
and Locke exchange a look. Then Locke and Ethan turn and go.
ANGLE ON HURLEY, emptying the contents of the open suitcase.
He holds up an impossibly ugly Hawaiian shirt, shakes his
head and tosses it aside. Then he unzips the long vinyl bag.
CLOSE ON HIM as he looks inside and reacts, eyes widening.
HURLEY
Oh... Duuude...
He looks up and a smile comes to him as he registers an idea.
12
INT. HABITAT - NIGHT
12
CLOSE ON SAYID, his eyes clenched shut, his body TENSING as
we hear the HUM of electricity. To escape the graphic nature
of this, we illustrate it through the DIMMING of the BRIGHT
LIGHT, still focused on Sayid.
ON THE FIGURE in the dark, as the wire is moved away and the
LIGHT BRIGHTENS.
FIGURE SAYID
Where is Alex?
-- I don't -- Please --
FIGURE
Where is Alex?
SAYID
(summoning his energy)
-- PLEASE just listen... I'm-- I'm
a survivor of a plane crash -- I
found a wire at the beach...
followed it... Thought it might
have something to do with a
transmission we picked up on out
transceiver...
FIGURE
Transmission?
LOST "Solitary" (PINK) 10/5/04 15.
12 (CON T'D) 12
SAYID
A recording... a mayday -- a French
woman... Repeating on a loop... for
more than sixteen years...
He stops talking `cause it's still so hard to do anyway...
and after a long beat, he hears from the darkness:
FIGURE (O.S.)
"Si n'importe qui peut entendre
ceci veullez nous aider... I' les a
tues. Il les a tues tous..."
Sayid stares as the FIGURE rises, slowly steps toward him and
into the light. A WOMAN, early forties -- attractive despite
lacking make-up; swimming in a stained, stretched out sweater
that hangs off her shoulder. Oh yeah, and she's holding a
serious looking RIFLE, looking somewhat dazed.
FRENCH WOMAN
(almost to herself)
... sixteen years...?
(beat)
Has it really been that long?
SAYID stares, disbelievingly. He's found her. The French
Woman. Alive.
SAYID
You...
She looks hard at him now, with mounting anger...
FRENCH WOMAN
You just... happened to hear my
distress call... Stumbled upon
it... LIES! No planes fly over
this island. I know what you are --
She turns the rifle around in her hands.
FRENCH WOMAN (CONT'D)
You're one of them!
ON HER as she SLAMS Sayid in the jaw with the rifle butt,
sending us into...
BLACK OUT.
END OF ACT ONE
ACT TWO
INT. FRENCH WOMAN'S HABITAT - MORNING 13
13
With sunlight streaming in through the top of the space, we
finally get a look at the surroundings. A dug-out hole in
the ground, dirt walls, mesh ceiling, a ladder leaning
against one of the walls.
CLOSE ON THE FRENCH WOMAN, manically rifling through Sayid's
things on a desk: empty water bottle, fruit, a beat up copy
of the Koran, an extra shirt; flashlight - which she turns on
and off... then she comes to the envelope of photos, she
looks through them seeing pictures of the Woman in Sayid's
flashback. She compares that with the single photo she found
-- the one Sayid had looked at in the teaser. She turns it
over to see SOMETHING IS HANDWRITTEN on the back - in Arabic.
PAN OVER to SAYID, his pant leg is ripped open, his thigh is
bandaged, and there's dried blood on his chin from the rifle
butt blow. ON HIS FACE as he slowly comes to and, hearing
noises, looks over at... THE FRENCH WOMAN, her back to him,
going through his things, unaware he's awake.
SAYID's eyes scan across the room. It's a cluttered mess.
Full of items salvaged from a ship. He catches sight of...
HIS POV - A TORN, FADED JACKET hanging on a nail. A FADED
NAME is stenciled on it: ROUSSEAU.
SAYID
(reading softly, aloud)
"Rousseau..."
Startled, ROUSSEAU whips around, glaring suspiciously.
ROUSSEAU
How do you know my name?
SAYID
I- I read it. There. On the
jacket.
Rousseau just STARES at him. An odd moment. The two
studying each other. Then --
SAYID (CONT'D)
What is this place?
ROUSSEAU
Yes. What is this place?
She turns away from him again to examine more of his things.
LOST "Solitary" (PINK) 10/5/04 17.
13 (CON T'D) 13
ON SAYID, as he spots...
HIS POV - A bank of four large batteries, wires from it
running to his cot.
SAYID
Those batteries... They wouldn't
produce enough power to transmit
your distress call all these years.
ROUSSEAU
The transmission. It broadcasts...
from somewhere else.
(long beat)
But they control it now...
SAYID
(squinting)
"They...?"
ROUSSEAU
(turning and eyeing him)
You. And the others like you.
ON SAYID as he gets it. This woman is unbalanced, paranoid.
SAYID
I... I don't know who you think I
am. But I told you... I'm not--
ROUSSEAU
"Sayid."
SAYID
What? How do you -- ?
ROUSSEAU
My name is on a jacket. Yours is
on the envelope you carry.
(then)
Who is she?
Rousseau suddenly thrusts out the PHOTO in her hand.
ROUSSEAU (CONT'D)
The woman. In the photographs.
SAYID
That's -- She's no one...
13 (CON T'D) (2) 13
ROUSSEAU
You carry photos of her. She means
something to you. Who is she?
SAYID ROUSSEAU
I don't --
-- Tell me!
Sayid looks at her a moment, seeing some desperate need in
her to know. Then finally replies...
SAYID
Nadia. Her name is Nadia...
INT. IRAQI BASE - HALLWAY OUTSIDE DOOR - DAY - FLASHBACK 14
14
CLOSE ON THE PHOTO OF NADIA, clipped with some other photos
of her, to an open folder (the papers all in Arabic.)
OMAR (O.S.)
We can't tie her directly to the
bombing...
CUT OUT to see Sayid perusing the folder as Omar briefs him.
OMAR (CONT'D)
But we know where her sympathies
lie. She's a known associate of
Kurdish and Shi'ite insurgents.
SAYID
You think she knows who
orchestrated the bombing.
OMAR
That, my friend, is exactly what
you will find out.
Omar gives Sayid a friendly slap on the shoulder and moves
off as Sayid opens the door and enters...
INT. IRAQ - INTERROGATION ROOM - CONTINUOUS - FLASHBACK A15
A1 5
ON NADIA, her hands tied in front of her, her feet shackled
to a chair in the middle of the room. Her head is down.
Sayid crosses to a desk in the corner and leans against it,
staring at his prisoner.
A15 (CON T'D) A15
SAYID
(referring to file)
Noor Abed Jaseem... I'm going to
ask you some questions... And if
you refuse to cooperate, I am going
to hurt you. Do you under--
She raises her head and looks at him, evenly.
NADIA
Nobody calls me "Noor," Sayid. You
of all people should know that.
Sayid stares at her a moment, stunned she knows his name.
NADIA (CONT'D)
What, you don't remember me?
(then, almost wistfully)
Am I so different from the little
girl in the schoolyard who used to
push you in the mud... send you
crying home to your mother...
Sayid narrows his eyes, as it comes to him.
SAYID
Nadia.
NADIA
And your mother would tell my
mother... And I would be in such
trouble -- "Why must you pick on
little Sayid?" and I'd answer:
"Because he ignores me."
SAYID
(after a beat)
You had enough attention. With
your family's wealth. And your...
charms.
NADIA
Such things matter little to
children.
(she looks at him warmly)
But then you were always older than
your years, weren't you, Sayid?
SAYID
Not old enough to understand that
being pushed in the mud was a sign
of affection.
A15 (CON T'D) (2) A15
They look at each other for a moment, before Sayid realizes
his place, his responsibility. He breaks his gaze...
SAYID (CONT'D)
And now you're a traitor to your
country.
ON NADIA - disappointed with the turn in the conversation.
NADIA
(bitterly)
Traitor... Saddam is the traitor.
And you blindly serve him... like a
dog. He's betrayed his own people,
brutalized... murdered them --
SAYID
(cutting her off, sharply)
Tell me what you know about the
bombing in Najaf...
She wearily shakes her head and he leans into her.
SAYID (CONT'D)
You know who was behind it. Tell
me -- or I swear I will hurt you.
She stares hard at him.
NADIA
Oh, I know, Sayid. This isn't my
first interrogation by the
Republican Guard...
She reaches up with her bound hands and pulls away the open
collar of her shirt revealing BURN SCARS near her chest.
NADIA (CONT'D)
This is where they burned me with
acid... When I couldn't tell them
the whereabouts of a man I'd met
only in passing...
She holds out her hands, revealing small SCARS on her palms.
NADIA (CONT'D)
They pierced my hands with a
drill... because I couldn't
remember his name... Would you
like to see the soles of my feet?
Where they flagged the skin off --
(glaring defiantly)
(MOR E)
LOST "Solitary" (PINK) 10/5/04 21.
A15 (CON T'D) (3) A15
NAD IA (CONT'D)
These are handiworks of your
"friends." The people you swear
allegiance to.
Sayid stares at her wounds, shaken. After a beat...
SAYID
If you were innocent, I am sorry.
(then; hardening)
But this bombing is another matter.
She looks away, not answering.
SAYID (CONT'D)
Nadia --
NADIA
Go on, Sayid. Do your work. I'm
not going to tell you anything.
SAYID
(with less conviction)
I'm going to hurt you.
ON NADIA -- she looks up at him with resigned sadness...
NADIA
I know.
OFF SAYID, registering regret and confusion.
15
15 INT. THE VALLEY - DAY
CLOSE ON A ROUGH SKETCH in progress... A series of
interlocking poles attached to a braced funnel-type object.
REVEAL MICHAEL, by the spring, sketching on a found writing
pad with a broken pencil. A long SHAFT OF BAMBOO leaning
against him. WALT is balancing on the edge of nearby rocks.
WALT
I'm bored...
(Michael doesn't reply)
Can I take Vincent down to the
beach?
MICHAEL
Uh... I'll take you later, man.
I'm in the middle of something...
He tosses down the pad, grips the bamboo pole, and studies
the end of it. He sticks the back end of the pencil into the
nub of the shaft, scratching at it...
LOST "Solitary" (PINK) 10/5/04 22.
15 (CON T'D) 15
WALT
But there's nothing to do around--
MICHAEL
Well you gotta figure out stuff to
do. You know what I'm saying? You
gotta find a way to entertain
yourself.
OFF WALT, looking perturbed. Meanwhile, nearby...
CLOSE ON HANDS, digging in a pile of various salvaged items.
WIDEN to see it's HURLEY, on a mission.
HURLEY
(to himself)
C'mon, c'mon... I know I saw it...
Behind him, JACK enters from the infirmary cave. He sees
Hurley in his flurry of activity.
HURLEY (CONT'D)
(finding it)
Yes!
He brings up a broken thermos and removes the chipped plastic
cut on top. Jack steps toward him...
JACK
Hurley...
But Hurley doesn't hear him as he spots
HIS POV - Michael resting the bamboo pole against a wall as
he picks up his pad to continue sketching.
HURLEY
Whoa...
He gets up and hurries over to Michael as Jack continues to
watch. Hurley grabs the bamboo pole and looks at Michael.
HURLEY (CONT'D) MICHAEL
Dude, can I borrow this?
-- Uh... I'm trying to--
-- Thanks, Man.
Hurley starts heading out, Michael looking after him.
JACK
Hurley -- !
LOST "Solitary" (PINK) 10/5/04 22A.
15 (CON T'D) (2) 15
Hurley stops and looks back at him.
LOST "Solitary" (GREEN) 10/7/04 23.
15 (CON T'D) (3) 15
JACK (CONT'D)
What are you doing?
ON HURLEY as a big grin crosses his face and he gives Jack an
enthusiastic "Wait'll you get a load of this" look. Then
turns and continues out...
OFF JACK, squinting, uncertainly, at him as he goes.
16
INT. FRENCH WOMAN'S HABITAT - DAY
16
ON ROUSSEAU sitting on the cot, next to SAYID, as she
redresses his thigh wound.
SAYID
There's no need to keep me chained
up. I can't very well run off with
a hole in my leg.
Rousseau notices something else on his leg...
HER POV - A SCAR just about his knee, below the bandage.
ROUSSEAU
You have a bullet wound.
SAYID
I was a soldier.
ROUSSEAU
(intrigued)
And are you still?
Sayid just looks at her. A flash of shame?
SAYID
It was a long time ago.
ROUSSEAU
Once a soldier, always a soldier.
(then)
Where did you fight?
LOST "Solitary" (GREEN) 10/7/04 24.
16 (CON T'D) 16
SAYID
In the Gulf War.
She looks at him oddly.
ROUSSEAU
What's the Gulf War?
SAYID
(realizing)
A lot has happened in the world
since you... left.
Rousseau ponders this. Of course it has. Then -- She shakes
it off. Abruptly crosses to the desk and picks up Nadia's
picture again, gazing at it. Sayid studying her...
SAYID (CONT'D)
Alex. Who is he -- ?
ROUSSEAU
(ignoring him)
This
Tell me more about her.
woman. Nadia...
SAYID ROUSSEAU
What is it you want-- -- You love her, don't you?
She's everything to you.
Sayid stares a moment before answering, difficult to admit.
SAYID
Yes.
Almost gratified to hear it, she turns the photo over.
ROUSSEAU
This writing on the back. What
does it mean?
SAYID
It's... it's nothing.
She hardens, irrationally frustrated. She gets up, PACES --
ROUSSEAU
Still lying.
LOST "Solitary" (PINK) 10/5/04 25.
16 (CON T'D) (2) 16
SAYID
I'm not lying -- it has nothing to
do with --
ROUSSEAU SAYID
Lies... Like this "plane
crash". That you survived...
You claim there were others--
-- More than forty, yes --
-- Then why are you alone?
He looks at her. After a beat...
SAYID (CONT'D)
I left them.
ROUSSEAU
Why?
SAYID
There was a --
(beat)
I did something.
Rousseau eyes him, innately understanding, somehow.
ROUSSEAU
Something you're ashamed of.
Sayid looks at her a moment, before offering a small nod.
ROUSSEAU (CONT'D)
And Nadia? You left her, too?
SAYID
She wasn't on the plane.
Rousseau ponders that, then putting the pieces together...
ROUSSEAU SAYID
So you heard my transmission -
- Came looking for me -- for -- I didn't know you were
answers... Hoping to find alive --
some way to get back to her -- -- There is no way --
-- But if she's waiting -- I can't --
somewhere for you --
-- She's dead!
Rousseau reacts, stricken.
16 (CON T'D) (3) 16
ROUSSEAU
Dead...?
(sitting on the cot)
How... How did--
SAYID
(quietly)
Because of me.
ON ROUSSEAU, looking at him with empathy as her eyes well up.
She reaches over and brushes her hand against his cheek.
ROUSSEAU
I'm so sorry.
Then, inexplicably, she bends down and kisses him on the
lips. Sayid reacts with wary surprise, as she sits up.
ROUSSEAU (CONT'D)
I know what it's like to lose
someone you...
She stops. Can't bring herself to say the word. Pulls it
together. Abruptly stands --
ROUSSEAU (CONT'D)
I want to show you something.
SAYID continues to eye Rousseau as she moves off frame...
17
17 INT. THE VALLEY - INFIRMARY CAVE - DAY
CLOSE ON MICHAEL'S SKETCH, fully worked out now. As we hear:
MICHAEL (O.S.)
...See, this junction here reroutes
some of the spring's waterflow into
a couple of suspended basins...
WIDEN to see Jack holding the pad, Michael next to him,
pointing at the sketch as he explains:
MICHAEL (CONT'D)
Pop in some holes, we got showers.
That way we keep our drinking water
separate...
JACK
(impressed)
This is... You drew this?
17 (CON T'D) 17
MICHAEL
Yeah, well, I was an artist in a
previous life.
JACK
Thought you were in construction.
MICHAEL
I am. I mean, I was.
(beat)
Long story. Maybe I'll tell you
when we've got some time to kill.
Jack smiles, a genuine moment between these two men before --
CHARLIE (O.S.)
Hey, Jack!
They look as CHARLIE runs in, winded...
JACK
What's up?
CHARLIE
Dunno... Hurley's all worked-up
over something. Says... Says we
need to come see it.
JACK moves off, Michael and Charlie right behind him...
18
18 EXT. JUNGLE - CLEARING - AFTERNOON
ON HURLEY, standing by the bamboo shaft sticking out of the
ground - the top of the pole sports a torn remnant of the
ugly Hawaiian shirt tied to it. Like a flag. Hurley pulls a
GOLD BAG into frame, next to him, and addresses someone.
HURLEY
Welcome to the first -- and,
hopefully last -- Island Open.
REVERSE to see JACK, MICHAEL and CHARLIE, dumbfounded.
JACK
What?
HURLEY
Dig it. Just two holes for now...
Three par and no waiting.
Jack looks at the flag, the hole, trying to absorb this.
18 (CON T'D) 18
JACK
Hurley, you -- You built a... a
golf course?
HURLEY
Hey, rich idiots fly to tropical
islands all the time to whack balls
around. Gotta be something to it.
MICHAEL
(to Hurley)
All the stuff we gotta be dealing
with, man... This is what you've
been wasting your time on?
Hurley sees it's time for the hard sell.
HURLEY
Dudes... Listen... Our lives suck.
Everybody's nerves are stretched to
the max. We're lost on an
island... running from boars,
monsters... Freakin' polar bears! --
MICHAEL
Polar bears?
CHARLIE
Didn't hear about the polar bear?
HURLEY
-- All I'm saying is... If we're
stuck here, just surviving's not
gonna cut it... People need some
kind of relief. We gotta find some
way to have... y'know, fun.
(off Jack's unsure look)
Yeah, fun. Or we're just gonna go
crazy waiting for the next bad
thing to happen to us.
A moment passes as the others take his words in. Not sure
what to make of all this. And then --
CHARLIE
It's bloody brilliant!
He runs up to Hurley who high-fives him, delighted that
somebody gets it. Charlie grabs a club from the bag...
ON JACK and MICHAEL sharing an incredulous look.
LOST "Solitary" (PINK) 10/5/04 29.
INT. FRENCH WOMAN'S HABITAT - MEANWHILE 19
19
CLOSE ON A BEAT-UP, ANTIQUE MUSIC BOX, with a waltzing couple
on top, frozen in place.
ROUSSEAU (O.S.)
Beautiful, isn't it?
PULL OUT to see it's held by ROUSSEAU, sitting next to SAYID.
ROUSSEAU (CONT'D)
It was a gift from my love...
SAYID
(fishing)
You mean Alex?
Rousseau's eyes drift off for a moment.
ROUSSEAU
Robert.
(remembering)
He bought this for me in Singapore.
For our anniversary. It would play
Chopin.
SAYID
I'd... like to hear it.
ROUSSEAU
It's broken. Has been for... a
long time.
(bittersweet)
It was such a comfort for me... the
first few years here.
She gets lost in thought, Sayid eyeing her. After a beat...
SAYID
I could fix it for you.
She turns and looks at him.
SAYID (CONT'D)
I could take a look at it... if you
free my hands...
She continues to eye him strangely, perhaps suspiciously,
then gets up and crosses to the desk, her back to him.
LOST "Solitary" (PINK) 10/5/04 30.
19 (CON T'D) 19
SAYID (CONT'D)
I'm fairly food with mechanical
things... I'll need my hands to--
CLOSE ON ROUSSEAU'S HANDS as she places the box down, slides
a LEATHER POUCH to her and removes an old, rusty syringe and
a corked vial of liquid.
ROUSSEAU
What is written on the back of your
photograph? Did she write it, or
did you?
ON SAYID, getting NERVOUS -- unable to see her actions.
SAYID
What... What are you doing?
She draws the liquid into the syringe, then takes a piece of
sandpaper and rubs the rusty needle. She turns to face him.
ROUSSEAU
Perhaps you won't tell me because
it causes too much pain.
ON SAYID, seeing the old, weather-worn hypo in her hand, as
she approaches him, continuing to sand the needle.
SAYID
(fear rising)
Rousseau... You don't have to do
that. Whatever it is... I only
offered to fix your music box.
She crosses back to the cot and sits, looking at him, sadly.
ROUSSEAU
Some things cannot be fixed, Sayid.
And she jabs him with the needle...
BLACK OUT.
END OF ACT TWO
ACT THREE
EXT. JUNGLE - CLEARING - DAY 20
20
CLOSE ON MICHAEL and JACK, appearing concerned.
MICHAEL
This is a problem, man.
JACK
(looking down)
Yeah.
MICHAEL
I mean, I know what I'd do... But
this is your call.
JACK
(making his decision)
Okay...
(looks up at Michael)
Gimme the seven-iron.
CUT WIDE TO REVEAL they're talking about the lie of a GOLD
BALL, stuck behind a mound of dirt. Michael removes the club
from the golf bag beside him and hands it to Jack, who looks
toward the hole.
JACK (CONT'D)
(calling out)
Heads up over there.
ON HURLEY and CHARLIE standing by the flagged "hole," a
putter in Charlie's hand, as they step back.
Jack chokes up on a club and lofts the ball into the air.
And at that moment...
SULLIVAN (O.S.)
Doc? -- Hey, Doc!
SULLIVAN emerges from the brush, spotting them.
SULLIVAN (CONT'D)
There you are... Somebody said you
went this way. Listen... I think
this rash is spreading... I mean,
it's like the size of a grapefruit--
He stops, noticing the club in Jack's hand.
SULLIVAN (CONT'D)
What are you doing?
20 (CON T'D) 20
ON JACK, looking a little chagrined, feeling caught.
JACK
Uh...
He peers at Michael, then back to Sullivan who sees Hurley
and Charlie and the "flag."
SULLIVAN
(incredulous)
Are you-- Are you playing golf?
ON JACK, a little embarrassed, he finally admits:
JACK
Y-yeah.
SULLIVAN
(after a beat, brightly)
Can I play?
ON JACK and MICHAEL - sharing a look and a shrug.
21
INT. FRENCH WOMAN'S HABITAT - DAY
21
CLOSE ON SAYID, lying face down on top of the cluttered desk,
as his eyes flutter open. Raising himself up... WE WIDEN to
see he's seated in a chair, his feet chained to the bottom of
the desk, he registers his hands are free...
ON SAYID as his eyes clear, the first thing he sees before
him is the MUSIC BOX, and a plastic container with several
tools. He also notices other items pushed to the side...
HIS POV - various maps (some hand-drawn) and schematics, as
well as a compass and other items.
SAYID is about to reach toward the maps when he hears:
ROUSSEAU (O.S.)
I'm sorry. About the sedative...
ON ROUSSEAU, sitting in a chair, her rifle across her lap.
ROUSSEAU (CONT'D)
It was the only safe way for me to
move you.
Sayid looks at her, nods wearily. Almost resigned to it.
LOST "Solitary" (PINK) 10/5/04 33.
21 (CON T'D) 21
ROUSSEAU (CONT'D)
You offered to fix my music box...
After all I've done to you.
Striking you, shocking you... Why?
Why aren't you furious with me?
SAYID
There's nothing you've done to me I
didn't already deserve.
ROUSSEAU
Perhaps you aren't still a soldier
after all.
Sayid eyes her, then takes a screwdriver from the container.
SAYID
Do you want me to fix your music
box or don't you?
ROUSSEAU
Yes. Please.
SAYID
Then I want to know your name.
Your first name.
She seems almost surprised by this. By his interest in her.
After a beat --
ROUSSEAU
Danielle. My name is Danielle.
He begins dismantling the music box. As he works...
SAYID
And how did you come to be on this
island, Danielle?
ROUSSEAU
We were part of a science team.
SAYID
(skeptical)
A science team armed with rifles.
(beat)
Was Robert on the team?
ROUSSEAU
(beat)
Yes.
LOST "Solitary" (PINK) 10/5/04 33A.
21 (CON T'D) (2) 21
SAYID
And Alex -- was he --?
LOST "Solitary" (PINK) 10/5/04 34.
21 (CON T'D) (3) 21
ROUSSEAU
(ignores him)
Our vessel was three days out of
Tahiti when our instruments
malfunctioned... It was night -- a
storm... the sounds --
(beat)
The ship slammed into rocks, ran
aground... The hull breached
beyond repair. So we made camp...
Dug out this temporary shelter...
(to herself, wryly)
Temporary...
(then)
Nearly two months we survived
here... Two months before...
...She trails off.
SAYID
Your distress signal... the message
I heard. You said: "It killed them
all..." Did you mean that... thing
in the jungle?
ROUSSEAU
What "thing"?
ON Sayid. How could she not...?
SAYID
Then what -- ?
ROUSSEAU
What killed them? Oh, what killed
them? Yes, I suppose that's the
question, isn't it?
And now, PUSHING IN, any semblance of lucidity we found with
Rousseau is replaced by something... well, ELSE --
ROUSSEAU (CONT'D)
We were coming back from the black
rock. It was them.
(beat)
They were the carriers...
SAYID
What? Who --?
LOST "Solitary" (PINK) 10/5/04 35.
21 (CON T'D) (4) 21
ROUSSEAU
The others.
SAYID
What others? And what's the black
rock?
(but she only stares off)
Danielle -- Have you seen other
people on this island?
ROUSSEAU
No.
(then)
But I hear them. Out there in the
jungle.
(then)
They whisper.
Sayid eyes her, pityingly. She senses it and looks at him.
ROUSSEAU (CONT'D)
You think I'm insane.
CLOSE ON SAYID, deciding how to answer that. Then --
SAYID
I think you've been alone. For too
long.
INT. IRAQI BASE - CELL - DAY - FLASHBACK 22
22
DARKNESS, then the CLANGING of a steel door being unlocked
and swung open. Light streaming in reveals NADIA, sitting on
a metal bench, in the windowless cell, looking tired, thin.
She squints up into the harsh light outside the cell to see
SAYID, entering, holding a rolled up jacket.
SAYID
Good morning, Nadia.
NADIA
Is it morning already?
Their manner now is casual, a comfortable routine they've
fallen into. Sayid sits next to her and produces a small
loaf of bread, which she tears into, hungrily.
SAYID
I'm sorry... it's all I could find.
I'll try to bring you fruit, later.
(MOR E)
EXT. BEACH - DAY 23
23
ON BOONE, crossing away from a couple of other survivors, who
trek off towards the jungle. We see others conferring
animatedly, then moving off as well when Boone arrives by
SHANNON, wearing sunglasses, sunning herself.
BOONE
You're not gonna believe this...
SHANNON
(not looking up)
You learned to tie your own shoes?
BOONE
Funny. Somebody at the caves built
a golf course in the jungle.
SHANNON raises her glasses and finally looks up at him.
SHANNON
Are you high?
PULL OUT to reveal KATE crossing by with wood for the signal
fire as she overhears:
BOONE
Seriously... A golf course.
Doctor's there now, playing with
some other--
Kate stops and looks at him, disbelievingly.
KATE
Jack? Is golfing?
BOONE
(to Kate, amused)
S'what I hear. Don't know about
you, but I gotta check this out.
He turns and starts off, as Shannon gets to her feet.
SHANNON
Well, wait for me, bonehead.
She runs to catch up with him as Kate drops the wood where
she stands and starts off toward the jungle path, herself...
SAWYER (O.S.)
A doctor playing golf...
23 (CON T'D) 23
Kate stops, looks over and sees SAWYER, sitting by his tent.
SAWYER (CONT'D)
Boy-howdy, now I've heard
everything. What's next? A cop
eatin' a donut?
KATE
(a dare)
If you wanna come, you should just
say so.
SAWYER
Think I'll pass on that, freckles.
Not big on crowds. And, face it,
crowd's not too hot on me, neither.
Kate stares at him a moment.
KATE
Do you like being an outcast,
Sawyer?
SAWYER
Last I check, you weren't exactly
runnin' the yearbook committee
yourself, pumpkin...
KATE
Last I checked, you had a knife
sticking out of your arm.
SAWYER
Hell -- misunderstandings happen.
Sawyer unleashes his grin. Kate just shakes her head.
Smiles despite herself --
KATE
So this is it, huh? Just...
sitting around, pretending it's
okay that they all hate you?
SAWYER
(shrugs)
Works for me.
KATE
No it doesn't. Because I know
better.
The reminder of this sobers Sawyer up.
23 (CON T'D) (2) 23
KATE (CONT'D)
One outcast to another?
(beat)
I'd think about making more of an
effort.
SAWYER
Duly noted.
KATE, realizing he's hopeless, turns and goes. OFF SAWYER,
watching her, stewing on her words.
24
INT. FRENCH WOMAN'S HABITAT - MEANWHILE
24
CLOSE ON SAYID'S HANDS as he tightens a screw on the bottom
of the music box. WIDEN ON HIM as he rights the box up, and
turns the key on the side. MUSIC - a CHOPIN WALTZ emanates
from it and the waltzing couple spin.
ON ROUSSEAU, in her chair, as the sound reaches her. She
looks at Sayid who smiles and holds out the box for her. Her
face brightens as she stands and crosses to him to take it,
putting NADIA's PHOTO down on the edge of the desk.
SAYID
Some things can be fixed.
You see?
ROUSSEAU marvels at the waltzing couple atop the box,
laughing. As she does ANGLE ON SAYID'S HAND, palming the
small screwdriver.
ROUSSEAU
Thank you. Oh, god... Thank you so
much. How long it's been since
I've heard music. It is...
(overcome)
Thank you.
As she sways, dancing... Sayid watches her. Then --
SAYID
Danielle -- please let me go.
She slowly stops swaying as his request reaches her brain --
ROUSSEAU
Go? Go where?
SAYID
Back to the people I told you
about.
LOST "Solitary" (PINK) 10/5/04 40.
24 (CON T'D) 24
ROUSSEAU
The ones you left behind?
(beat)
But you said -- you said you had to
leave them. That you were ashamed.
A moment. He IS ashamed. But then he looks up, a sense of
OWNERSHIP OF THAT SHAME in his eyes. And more importantly,
the desire to absolve himself of it.
SAYID
That is why I have to go back.
Rousseau is getting UPSET. Doesn't like this AT ALL --
ROUSSEAU
-- You can't. You have to stay.
It's not safe...
SAYID
Not safe? What's not --
ROUSSEAU SAYID
You need me. You can't
leave. -- Danielle, please --
Suddenly, the ROAR of a large animal -- Bear? Tiger?
Mammoth? -- is heard from outside, close by. Most definitely
NOT our monster. Their heads whip toward it.
SAYID (CONT'D)
What -- What was --
And BANG: wordlessly, ROUSSEAU's on the move... She quickly
puts the music box down, sweeps the tools into the plastic
container and crosses with it to a cabinet in the corner.
SAYID (CONT'D)
What are you doing?
She places the container out of the way and grabs her rifle.
ROUSSEAU
If we're lucky, it's one of the
bears.
SAYID
If we're lucky?
ROUSSEAU
Dinner.
LOST "Solitary" (PINK) 10/5/04 41.
24 (CON T'D) (2) 24
She opens the cabinet revealing ANOTHER RIFLE, A HANDGUN, THE
MACHETE and BOXES OF AMMO. She drapes an AMMO BELT across
her shoulder, shoves the pistol into her waistband, the
machete through a loop on the belt. She's a fucking warrior.
SAYID
Free me -- so I can come with you.
Help you --
ROUSSEAU
No. You'll leave me -- Run off.
You have to stay --
Armed to the teeth, she moves to the ladder.
SAYID
Danielle, listen to me... It might
be that thing out there. The
monster...
She stops climbing and looks back at him, with a tender,
though almost patronizing look.
ROUSSEAU
Poor Sayid... There are no such
things as monsters.
She climbs to the top, pushes up the mesh and exits. Sayid's
eyes drift back to the cabinet, staring --
HIS POV - SLOW PUSH IN on the OTHER RIFLE she left behind.
PUSH IN on Sayid, weighing what has to be done, as we hear:
OMAR (PRE-LAP)
You have to execute her...
INT. IRAQI BASE - CORRIDOR - NIGHT - FLASHBACK 25
25
ON SAYID, confused.
SAYID
What --?
WIDEN to see OMAR, reiterating the order.
OMAR
The Jaseem woman has given us
nothing. This will be a message to
others who will not talk --
25 (CON T'D) 25
SAYID
I just need more time with her --
And Omar says this like it's the most ordinary thing in the
world to say --
OMAR
You've had more than a month. You
failed, Sayid. Now take her
outside and shoot her.
(off Sayid's hesitation)
Is this a problem?
SAYID
No. It is not a problem.
OMAR nods and crosses off, leaving SAYID as the pain of his
duty registers on his face.
INT. IRAQI BASE - CELL - NIGHT - FLASHBACK 26
26
DARKNESS, again. Then the noise of the door being unbolted
and swinging open. Light falling onto NADIA, who peers up at
SAYID, in the doorway, holding something.
NADIA
What did you bring me today --?
Sayid takes a step in and Nadia sees an ARMED GUARD standing
next to him. Before she can say another word...
SAYID tosses a BLACK HOOD to her.
SAYID
Put it on.
NADIA stares at the hood, then looks back to Sayid.
NADIA
Are you going to hurt me, Sayid?
CLOSE ON SAYID, stoic, but his eyes filled with regret. And
after a long, PAINFUL beat...
He nods.
BLACK OUT.
END OF ACT THREE
LOST "Solitary" (YELLOW) 10/5/04 43.
ACT FOUR
INT. FRENCH WOMAN'S HABITAT - DAY 27
27
CLOSE ON A SMALL SCREWDRIVER, being worked around inside a
PADLOCK, when we hear a -- CLICK --
WIDEN as SAYID pulls the lock open and frees his second leg,
the first already unshackled. With effort, he pushes himself
up to a standing position, and makes his way to the cabinet.
He takes the rifle, finds a box of ammo, then opens the gun
up to load...
INTERCUT WITH:
A28
EXT. JUNGLE - MEANWHILE
A2 8
ON ROUSSEAU, as she moves into frame, her eyes scanning the
surroundings. She stops and listens for a moment... Then, as
if sensing something, she looks back toward the direction she
came, lowers her rifle, and starts to walk back...
B28
INT. FRENCH WOMAN'S HABITAT - MEANWHILE
B2 8
SAYID limps over to the ladder when something occurs to him.
He turns back to the desk and hurriedly moves to it--
He grabs his backpack, then the maps, schematics, compass and
other items, shoving them all into his bag. Then, he hoists
the bag over his shoulder and struggles up the ladder...
LOW ANGLE - As he moves the mesh and climbs out... TILT DOWN
to see NADIA'S PHOTO lying on the ground where it has
fallen... Forgotten.
28
28 EXT. JUNGLE - ANOTHER PART OF CLEARING - DAY
A CROWD has gathered to watch, including BOONE, SHANNON,
ETHAN, SULLIVAN, and KATE... We see WALT arrive... CHARLIE,
HURLEY, and MICHAEL are standing on the sidelines, waiting.
HURLEY
Dude. I think you stuck it.
ON JACK, crossing to the golf bag, Kate joins him.
KATE
This thing have a ladies' tee?
LOST "Solitary" (YELLOW) 10/5/04 43A.
28 (CON T'D) 28
JACK
Hey -- When did you --
KATE
Little while ago. Almost didn't
recognize you...
(off his look)
You're smiling.
JACK
Gotta watch that.
KATE
How'd you come up with --
LOST "Solitary" (PINK) 10/5/04 44.
28 (CON T'D) (2) 28
JACK
Not me. It was all Hurley...
He looks over at HURLEY, about to tee off. Charlie nearby.
JACK (CONT'D)
I'm going crazy trying to make
everyone feel safe -- I'm not
sleeping because I want everyone to
feel safe. This guy builds a golf
course? Everyone feels safe.
(pure admiration)
Genius.
ON HURLEY as he muffs the shot and the ball dribbles a few
feet away. The PEANUT GALLERY laughs, applauding.
HURLEY
Aw... Crap. Do-over!
CHARLIE
Nice shot, Tiger. And it's called
a Mulligan.
ANGLE ON MICHAEL, chuckling, standing off to the side.
WALT (O.S.)
Dad?
Michael sees Walt approaching. Michael's happy to see him.
MICHAEL
Hey, Walt -- Check it out, man.
WALT
You left me alone at the caves...
MICHAEL
What? I left you with Claire...
WALT
She's sleeping.
MICHAEL
(realizing)
Oh. Oh, man... I'm sorry. I
just... I just got caught up --
(kneeling next to him)
I'm really sorry, Walt. I screwed
up. I'm make it up to you.
(then)
Hey -- You wanna play?
LOST "Solitary" (PINK) 10/5/04 44A.
28 (CON T'D) (3) 28
Walt eyes the other grabbing clubs, conversing, laughing.
WALT
Naw. That's okay. There's other
people waiting.
MICHAEL
They won't mind. C'mon, man, take
a swing.
Walt shakes his head. Before Michael can offer again...
INT. IRAQI BASE - CORRIDORS - NIGHT - FLASHBACK 30
30
TRACKING WITH SAYID as he leads the ARMED GUARD and HOODED
NADIA, her hands shackled, down a corridor. As they come to
a connecting hallway, he halts and turns to the Guard.
SAYID
I'll take it from here.
They Guard eyes him for a beat, then offers a salute. Sayid
returns it and the Guard goes. Sayid takes Nadia's arm and
marches her down the other corridor.
They eventually reach a steel door, Sayid stops again, and
checks the coast. No one's around. He reaches up and pulls
the hood off Nadia, who flinches, squinting from the light.
NADIA
What -- What's happening?
Sayid gets keys from his pocket and unlocks her restraints.
NADIA (CONT'D)
What are you doing?
SAYID
Forty meters out this door, there's
a supply truck that will be leaving
shortly. They don't check them on
the way out, only coming in... Get
inside, cover yourself any way you
can... They won't reach the city
for thirty minutes... plenty of
time for you to jump out and hide --
Nadia REALIZES what this means. Overwhelmed. Then --
NADIA
Come with me.
SAYID
-- I can't. Desertion... they
would kill my family. I'm sorry...
I don't have your courage.
NADIA
You have more than you know.
A MOMENT. Under any other circumstance, it might lead to a
kiss. But then --
30 (CON T'D) 30
NADIA SEES IT - HER PHOTO, protruding from the top of Sayid's
shirt pocket. A pen is clipped there, as well. She reaches
up and pulls out the photo.
SAYID
What are you --?
She says nothing as she takes his pen, writes something on
the back of her photo. Sayid anxiously looks around --
SAYID (CONT'D)
Nadia... Please... You have to go.
OMAR (O.S.)
Sayid!
OMAR approaches, a look of confusion of his face.
OMAR (CONT'D)
What are you doing?
CLOSE ON SAYID, his mind reeling, trying to figure out what
possible answer he could give.
ON OMAR, understanding now all too well what Sayid's doing.
His hand reaches down to his sidearm. ON SAYID, seeing that.
SAYID
(quietly)
Omar... Don't --
OMAR
Guar--!
Sayid quickly draws his pistol and SHOOTS.
OMAR is blasted back to the wall and slumps down dead. ON
SAYID, staring in shock. Nadia behind him...
NADIA
Sayid -- You have to come with me
now. They'll kill you...
SAYID
No. You escaped, stole my gun and
shot him... And then you shot me.
NADIA
What -- ?
And Sayid suddenly SHOOTS HIMSELF in the leg. He stumbles to
the floor, enduring the pain.
LOST "Solitary" (PINK) 10/5/04 48.
30 (CON T'D) (2) 30
NADIA (CONT'D)
Sayid!
He peers up at her and holds out the gun.
SAYID
Take it.
(off her hesitation)
Please, Nadia...
Reluctantly, she takes the gun from his hand, replacing it
with her photo.
SAYID (CONT'D)
Now go! GO!!
Without another word, she turns and runs out the door.
ON SAYID, hearing distant voices shouting: "What was that?"
"Gunfire --" He looks at Nadia's photo, then turns it over.
And as he reads what she wrote --
31
EXT. JUNGLE - DAY
31
ON ROUSSEAU as she reaches the tree behind which Sayid took
cover. She hesitates for a moment, then, in a flash...
NEW ANGLE - She steps behind it, rifle poised to fire, and
finds Sayid gone. Before she has time to react...
SAYID (O.S.)
Put the gun down, Danielle.
Come around her to find -- SAYID has gotten the drop on her,
countering from the other side of the tree. He's got his
rifle trained at her head.
ROUSSEAU lowers her gun and slowly turns to look at him.
SAYID (CONT'D)
Put it down. On the ground.
ROUSSEAU eyes him a moment, almost sadly. Then begins to
raise her gun up again.
SAYID (CONT'D)
Please... I don't wish to hurt you.
LOST "Solitary" (PINK) 10/5/04 49.
31 (CON T'D) 31
ROUSSEAU SAYID
You already have.
-- DON'T!
But she ignores him, RAISING HER GUN --
ON SAYID, as it becomes clear what he has to do. He FIRES.
But, nothing happens. Not even the sound of the hammer.
ROUSSEAU (O.S.)
That was his gun...
Sayid looks at Rousseau, her gun still trained on him.
ROUSSEAU (CONT'D)
The firing pin's been removed.
Robert didn't notice it was missing
either when I shot him.
ON SAYID, stunned.
SAYID
You...
(beat)
But you loved him.
ROUSSEAU
(painfully)
He was sick.
SAYID
Sick...?
ROUSSEAU
It took them... One after the
other. I... I had no choice. They
were already lost...
SAYID
You killed them --?
ROUSSEAU
What would've happened if we were
rescued? It would've spread... I
couldn't let that happen...
(raising her rifle)
I won't.
Sayid tosses his rifle aside, and glares at her.
SAYID
I am not sick!
LOST "Solitary" (PINK) 10/5/04 49A.
31 (CON T'D) (2) 31
She pauses, staring at him, her eyes welling with tears.
After a beat, softly --
ROUSSEAU
I know.
LOST "Solitary" (PINK) 10/5/04 50.
31 (CON T'D) (3) 31
SAYID
Then why kill me?
ROUSSEAU
I don't... I don't want... I... I
don't know how else to stop you...
The rifle drops to her side, as if exhaustion has suddenly
overtaken her. Tears stream down her cheeks.
ROUSSEAU (CONT'D)
I can't let you go... You don't...
understand... To have someone... to
talk to... to touch...
Sayid looks at her for a moment, pityingly. He takes a step
toward her and she swings the rifle up again. Sayid halts,
putting up his hands. After a beat...
SAYID
"You'll find me in the next life...
if not this one."
ROUSSEAU
(looking at him, puzzled)
What?
SAYID
The writing. On the back of
Nadia's photo.
Rousseau stares at him, her weapon still trained.
SAYID (CONT'D)
I know what it is like to hold on
to someone. I've been holding on
for the last seven years to just a
thought... A blind hope... that
somewhere... she is still alive.
He starts to walk toward her.
SAYID (CONT'D)
But the more I hold on, the more I
pull away from those around me. I
may know in my heart that I cannot
ever let her go...
(beat)
But I can't find her alone.
Sayid stands right before the rifle barrel.
LOST "Solitary" (GREEN) 10/7/04 51.
31 (CON T'D) (4) 31
SAYID (CONT'D)
That's why I need to go back. The
only way off this... place --
Is with their help.
He reaches her and takes hold of the rifle barrel... There's
a beat, before she relinquishes her weapon to him, and slumps
to the ground, spent. He lowers himself next to her.
SAYID (CONT'D)
Come with me. We have a doctor -
She shakes her head. No.
SAYID (CONT'D)
Danielle, you have to stop
punishing yourself. You don't have
to be alone.
Rousseau looks at him a moment, sadly resigned.
ROUSSEAU
Yes. I do.
She slowly gets to her feet and takes her rifle back.
ROUSSEAU (CONT'D)
Your people, the ones you're
determined to return to...
(pointedly)
Watch them closely.
And with that, she turns and starts to walk away.
ON SAYID, watching her go. Then, a question burns in him and
he calls after her.
SAYID
Who is Alex?
TRACKING WITH ROUSSEAU, her back to him as she moves on...
ROUSSEAU
Alex was my child.
As she passes frame, we're left with SAYID staring after her,
registering this new piece of the puzzle.
CUT WIDE to see him standing in the jungle, alone again.
END OF ACT FOUR
ACT FIVE/EPILOGUE
EXT. JUNGLE - CLEARING - EVENING 32
32
EXTREME LOW ANGLE, behind the hole, as a golf ball rolls
toward it, bumping along the uneven ground. We hear shouts
from the unseen crowd: "Looks good." "Get in there!" The
ball takes a sharp turn and runs past the hole.
RACK FOCUS to see CHARLIE, putter in his hand, some ten feet
away. As the crowd gives a collective "Awww."
CHARLIE
Bollocks. You see that?
ON CROWD, now thirty or so strong, and including SUN, SCOTT,
STEVE, etc. JACK, MICHAEL, HURLEY and KATE standing with
them. All having a great time.
HURLEY
(to Charlie)
Dude. You were robbed.
MICHAEL
`Kay, Jack. S'up to you now. Sink
this and you get to wear the
blazer.
KATE
(to Jack)
No pressure.
Charlie joins them as Jack moves off to his ball.
HURLEY
(to no one in particular)
Five bucks says he makes it.
BOONE
Make it ten and you're on.
CHARLIE
(to Hurley, hurt)
You're betting against me?
HURLEY
No offense, dude. But you're a
duffer like me.
SULLIVAN
Hey, I don't have any cash. But
I'll put up my dinner tonight on
the doc.
32 (CON T'D) 32
The CROWD becomes a buzz of people shouting out wagers. Kate
laughs, finding it all hysterical.
Then, from the back:
SAWYER (O.S.)
I got two tubes of sunscreen and a
flashlight says he chokes.
ON KATE as she and the others turn to see
SAWYER standing behind them, looking back with uncertain
defiance. There's a long awkward moment as all the fun
dissipates with his arrival.
ON JACK, eyeing Sawyer, as well.
ON KATE, recognizing the heated tension in the air, but
feeling for Sawyer, proud of him for making the effort.
KATE
(to Sawyer)
I'll take that action.
Some in the crowd look at her, as does JACK. After a
moment...
BOONE
Yeah, me, too.
SHANNON
You already bet on Jack, dumbass.
BOONE
We can use the sunscreen, princess.
After a moment, the tension broken, people again turn back to
cheer Jack on. "Let's go, Jack!" "C'mon, Doc!"
KATE looks at Sawyer. Sawyer glances at her for a moment,
then turns back to watch the action.
JACK sees this, then looks down at his ball and lines up his
putt. As his putter strikes the ball...
EXT. JUNGLE - LOCKE'S SPOT - MEANWHILE 33
33
THWAK! A THROWN KNIFE imbeds itself in a tree trunk. The
tree sports dozens of scars, as this isn't the first time a
knife has cut into it.
33 (CON T'D) 33
WIDEN a bit as LOCKE crosses in and pries the knife out. He
turns and walks back several paces, readying himself to throw
it again, when he stops himself, sensing something, and says
without turning...
LOCKE
Does your father know you're here?
ARC AROUND LOCKE to find
WALT, standing by the edge of the jungle, behind him. Though
Locke's back is to him, he answers with a shake of his head.
WALT
Can you teach me how to do that?
Locke lowers his arm, and turns to face Walt for the first
time. After eyeing him a few moments, he flips the knife
over in his hand and offers the hilt out for Walt to take.
ON WALT, his eyes widen, as he steps in toward Locke and
reaches out...
CLOSE ON HIS HAND as it takes hold of the hilt and Locke lets
go...
34
EXT. JUNGLE - MEANWHILE
34
ON SAYID, exhausted, stumbling his way through the jungle.
He's grunting a bit, but moving with purpose, now using a
found tree limb as a crutch/walking stick...
Suddenly, he reacts to something and stops, with a sharp
intake of breath, holding it. He listens. All we HEAR is:
WIND rustling through the dense thicket of trees.
ON SAYID - His head darts around...
HIS POV - Nothing but jungle, trees being blown by the
breeze. And then we hear it... Amidst the sound of the
wind, there's something else... Though faint, it sounds like:
THE WHISPERING OF VOICES, seemingly all around him.
And as we PUSH IN on Sayid, wondering whether the wind is
playing tricks on him or... There is something out there.
BLACK OUT.
THE END
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