ZIA
06-15-08, 08:17 PM
Season 4, Episode 8 “Meet Kevin Johnson”
Written by Elizabeth Sarnoff and Brian K. Vaughn
Directed by Stephen Williams
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[Nighttime at the Barracks. Inside one of the houses, Claire, Aaron, Rousseau, Karl, Alex, Hurley, Ben, and Sawyer sit quietly as Miles Straume enters through the front door with his hands tied in front of him, accompanied by Locke.]
LOCKE: Thank you all for your patience.
Locke closes the door.
LOCKE: I know it's taken me a few days to...figure out our next move, but I didn't want to do anything until I knew more about our situation. You deserve to know everything that I do. So...no more secrets. As you all know, Miles here, and three of his people, came to the Island about a week ago. So I brought him up from the boathouse to...share with us..exactly why they're here.
MILES: We're here for him. [points to Ben]
HURLEY: Uh, we kinda like knew that forever ago.
SAWYER: Well, all right then. Problem solved. How soon do we turn him over?
LOCKE: We can't turn him over.
SAWYER: And why the hell not?
BEN: Because once they have me, their orders are to kill everyone else on the Island.
CLAIRE: Wait. So, what...he's one of us now? You're...you're gonna protect him? He tried to kill you, John.
HURLEY: Yeah. He won't even tell us who his spy on the boat is.
BEN: It's Michael.
HURLEY: [half whispered] What?
BEN: My spy on the freighter is Michael.
SAWYER: I'm sorry. You mean, the same guy that killed two women in cold blood to set this little bastard free? And then sold all of us out so he could get off the Island, that Michael?
LOCKE: Yes, James. That Michael.
[Nighttime at the freighter. Sayid and Desmond are asleep on cots. An alarm buzzes and they awaken and go outside. On deck, they see the Captain beating up some crew members]
CAPTAIN: The rules of desertion still apply to everyone. Nobody leaves this ship without my say-so! I'm not beating these men to scare you. I beat them to save your lives! Do you remember what happened to the last two men who took off on this boat? [pats his hand on an inflatable boat] Remember what happened to Minkowski? As soon as we get the engines fixed, we're back in the hunt. In the meantime, everybody just hold on! Johnson!
MICHAEL : [off-camera] Yes, sir!
We see Michael, known on the freighter as Kevin Johnson, standing in the distance wearing a hoodie. Sayid looks at Michael with an icy glare. Michael looks at Sayid with trepidation.
CAPTAIN: Clean this mess up.
MICHAEL: Yes, sir.
CAPTAIN: [mutters something unintelligible]
The Captain leaves, some of the crew attend to the men he beat up, and as Michael pulls down his hood, Sayid walks up to him. Sayid is not happy to see him.
SAYID: Hello, Michael.
MICHAEL: Not now, man.
SAYID: Yes. Right now.
The Captain, walking upstairs to the bridge, turns around to see Sayid talking with Michael, and leaves.
SAYID: Why are you on this boat?
MICHAEL: I'm here to die.
Michael walks away from Sayid.
LOST opening sequence.
[Nighttime. The Barracks. Locke is escorting Miles away from the house, and Sawyer follows them.]
SAWYER: Hey.
[Sawyer has caught up with Locke and Miles]
SAWYER: That was a nice meetin', John. I thought there wasn't gonna be any more secrets.
LOCKE: What are you talkin' about?
SAWYER: I'm talkin' about the three million bucks your buddy here asked for. Well?
LOCKE: Yeah. Miles offered his loyalty in exchange for the money. But as I haven't seen a bank on the Island, I didn't it worth mentioning.
[Miles laughs]
SAWYER: Somethin' funny?
MILES: Linus will find a way to get it.
SAWYER: And how will he do that?
MILES: He wants to survive. And, considering a week ago you had a gun to his head, and tonight he's eating pound cake, I'd say he's a guy who gets what he wants.
[Inside the house, Claire shows Aaron to Alex and Karl as Ben looks on]
CLAIRE: Bye, guys.
[Claire leaves with Aaron, and Alex and Karl start to leave]
BEN: Alex. May I have a word with you?
[Alex exchanges a stare with Ben, and Rousseau approaches]
DANIELLE: I think we've heard enough from you for one night.
BEN: I'm sorry. You're just gonna have to listen to a little more.
ALEX: It's okay. What do you want?
[Ben withdraws a folded piece of paper from his pocket and unfolds it]
BEN: This is a map to the Temple. It's a sanctuary. It may be the last safe place on this island.
KARL: How come we don't know about this?
BEN: Well, it wouldn't be a sanctuary if I told everyone, would it? The rest of our people are already there. If you leave now, you can get there in a day and a half.
KARL: If it's safe, why don't we all go? Hurley, Claire, the baby...
BEN: Because the Temple's not for them, Karl. It's only for us. These people that are coming, they know who I am, Alex. They're here to capture me. They'll kill anybody that gets in their way. If they knew who you were, that you were my daughter, they would use you to get to me. We don't have much time.
KARL: Maybe he's right.
DANIELLE: I agree. We should go.
ALEX: These people. You said they're dangerous. More dangerous than you?
[Ben hesitates to answer]
BEN: Yes. But your mother will protect you. Okay...now go!
[Karl, Alex, and Rousseau leave the house]
[Dawn. The freighter. Desmond is on deck watching the sunrise]
SAYID: [off-camera] Where is he?
CREWMAN #1: [off-camera] Engine room.
SAYID: [off-camera] You sure?
CREWMAN #1: [off-camera] Yeah.
[The camera turns to show the Crewman leaving, and Sayid joins Desmond]
SAYID: He's in the engine room.
[Sayid walks away, and Desmond follows. In the engine room, Michael is trying to make repairs]
MICHAEL: I don't understand it. It should be workin'.
JEFF: The gaskets are all corroded.
[The two stop their work, turn around, and see Sayid and Desmond walking downstairs into the engine room]
MICHAEL: Can I help you?
SAYID: The Captain sent us down to help with the repairs.
MICHAEL: Oh...thanks. We're okay. Hey, Jeff, man, you know what? We need a pressure valve. You mind grabbin' one from the, uh, supply room?
JEFF: Not at all.
[Jeff leaves]
MICHAEL: You shouldn't be here.
(Sayid grabs Michael and pushes him up against a wall]
MICHAEL: Hey!
DESMOND: Hey, Sayid. What are you doing?
SAYID: Why are you here?
MICHAEL: Listen. If they see me talkin' to you...
SAYID: Then talk quickly!
MICHAEL: You won't understand it!
SAYID: I'll understand perfectly, Michael. And just start from the beginning...and explain how you came to be on this boat.
[WHOOSH. Flashback. A small stream of water flows from the kitchen faucet in Michael's messy apartment in New York. Michael is in a chair, writing a note. Michael looks with sadness at a picture of himself with Walt as a baby. He throws down his pencil and rips the sheet of paper from its pad. Outside the apartment building, Michael gets into his car, starts the engine, the radio plays “Mama” Cass Elliot's 1969 hit “Better Every Day”. Michael pins the note to his shirt, and drives his car away. The car is going at a very high rate of speed down an empty street, then past the docks along the waterfront.]
MICHAEL: I'm sorry.
[Michael's foot steps on the gas pedal. The speedometer shows he's going about 60 miles an hour, and Michael crashes the car into a Dumpster, then blackness and silence for a few seconds. The backglass of Michael's car is shattered, but the radio still plays “It's Getting Better”. Steam rises from under the hood, and Michael's left hand is seen on the dashboard]
Commercial break
[Close-up of Michael's left eye as it opens slowly. He looks out of both corners of his eye, and tries to get up. He is wearing a hospital gown and a neck brace, and has a canula under his nose. He hears and sees various hospital equipment, and sinks back down into the hospital bed. He notices an older white man, asleep and intubated, in the next bed. Through a window next to the room's door, a nurse is seen about to enter with blankets. Michael groans]
NURSE #1: I'm sorry. I didn't mean to wake you, Mr. Dawson.
MICHAEL: It's... what happened to me?
NURSE #1: You were in a car accident. It's a miracle you're alive.
MICHAEL: How badly am I hurt?
NURSE #1: Shhhhhhh. You just need to rest now...
[The nurse is revealed to be Libby, whom Michael killed in the Swan station on the Island]
LIBBY: ...it's a cold night.
MICHAEL: Uhn...
: I brought you some extra blankets.
[Michael screams, then realizes Libby isn't there. He looks around, sees different hospital equipment than before, and the sleeping older white man is not intubated, but instead wears an oxygen mask on his face. A nurse walks into the hospital room]
NURSE #2: Oh. Let's get some light in here.
[The nurse turns on the lights]
NURSE #2: Now I thought I heard someone shout...
[The nurse is revealed to be a brunette]
NURSE #2: ...and somethin' tells me it wasn't him. You okay? You're lucky to be alive. EMTs say they found you in a wrecked car with a note pinned to your chest.
[The nurse begins replacing an empty intravenous drip bag with a full one]
NURSE #2: You didn't have any ID on you. Want to tell me your name?
[Michael does not answer her question]
NURSE #2: Yeah, I didn't think so. You want me to call Walt?
MICHAEL: What?
NURSE #2: The note...pinned to your chest. It was written to Walt. You want me to call him?
MICHAEL: [in a whisper] No.
NURSE #2: Okay, then.
[The nurse leaves the room and shuts the door. A tabletop Christmas tree is visible through the window next to the door]
[Michael walks to the front door of a house. A fullsize Christmas tree is visible through the window next to the door. He knocks on the door, and gets no answer. He knocks again, and an elderly woman opens the door, shocked to see Michael.]
MICHAEL: Hey, Ma. Can I... come in?
MOM: No. You know the answer to that.
[She closes the door]
MICHAEL: I wanna see him.
MOM: No!
MICHAEL: Just let me talk...
MOM: I don't know what you said to that boy, but whatever it was, he doesn't want to see you.
MICHAEL: Please, Ma. He's my son! I have a right!
MOM: I thought you were dead! They said your plane crashed in the middle of the ocean. But you show up here fine and dandy! Only I can't tell anybody about you or Walt. Can't call you by your real names! He barely talks to me! But he does wake up screamin' in the middle of the night, and I'm the one that's got to tell him it's gonna be okay! So, until you can explain to me ...where you were for over two months, and what happened...you gave up your rights!
MICHAEL: Will you, uh... will you tell him I love him?
[She nods]
MOM: Yeah.
[Michael's mom goes inside and closes the door. Michael stares at the door and sighs, turns around, and walks away. He takes a few steps on the sidewalk in front of the house, turns around, and sees Walt looking down at him from his bedroom window before closing the drapes and walking away from the window. Michael turns around, and walks away. Michael enters a pawnshop]
PAWNBROKER: What can I do for ya?
[Michael removes a watch from his left wrist]
MICHAEL: How much can I get for that?
[Michael hands the watch to the pawnbroker. The watch has Korean characters engraved on its back]
PAWNBROKER: Why is there Chinese writing all over it?
MICHAEL: It's Korean, man. The guy who gave it to me.
PAWNBROKER: You don't look like you speak Korean. I'll give you three hundred for it.
MICHAEL: I'm not lookin' for money.
PAWNBROKER: What are you looking for?
MICHAEL: I want a gun. I want a gun with bullets.
[Michael walks on the sidewalk with a brown paper bag tucked under his coat. He walks down a dark alley, sits down, removes a box of bullets from the bag, pours some bullets from the box, looks around, pulls out a revolver from the bag, loads bullets into its chamber, looks around, breathes heavily]
MICHAEL: [whispering] Come on. Let's just get this done. Help me just get this done.
[Michael closes the chamber and spins it, presses the barrel of the gun underneath his chin, and a large, tall figure emerges from the shadows]
STRANGER: 'Scuse me, sir. You got the time?
MICHAEL: No, man, no.
STRANGER: Come on, Michael...
[Michael looks up]
STRANGER: ...how about for an old friend?
[The large, tall figure is revealed to be Tom, and Michael looks at him in disbelief]
TOM : Manhattan, huh? We let you leave one island, you just go to another.
[Michael stands up, fires the gun at Tom, who avoids the shot, grabs the gun, and elbows Michael in the face. Michael falls, but starts to get up]
TOM: Will you just relax? I just came here to...
[Michael lands two punches to Tom's face, Tom countering with an uppercut to Michael's jaw. Michael falls on his back]
TOM: Now are you ready to talk...like adults?
MICHAEL: Yeah.
[Tom helps Michael up, but Michael grabs a bottle with his left hand and hits Tom over the head with it. Michael smashes the bottle]
TOM: Enough!
[Michael, with the bottle now in his right hand, thrusts it under Tom's chin as Tom points the gun at Michael's chin. After Tom stares down Michael, Michael drops the bottle, and it breaks.]
MICHAEL: Do it!
[Michael shuts his eyes. He pulls Tom's hand, still holding the gun, to his forehead]
MICHAEL: Go ahead! Do it!
TOM: [Pulling the gun away] You'd like that, wouldn't ya?
MICHAEL: How'd you find me?
TOM: We're the ones who sent you home, Michael. Did you honestly think we weren't gonna keep tabs?
MICHAEL: What do you want?
TOM: Your help.
MICHAEL: Why would I help the son-of-a-bitch who kidnapped my son?
TOM: We gave him back to you in one piece, Mike. You're the one who lost him.
[The two look at one another, and Tom's expression changes]
TOM: You told him, didn't you? You couldn't carry the guilt of what you did to those two women all by yourself, so you shared it with a 10-year-old kid! Is that why you wanna kill yourself, Michael? Because that's the way he looks at you now? Because he knows you're a murderer?
MICHAEL: Go away!
TOM: I got some bad news for you, amigo.
[Michael turns and walks away]
TOM: You can't kill yourself. The Island won't let you!
MICHAEL: [turns around, facing Tom] What'd you say?
TOM: No matter how bad you want to. No matter how many different ways you try. It won't happen.
[Tom hands the gun to Michael]
TOM: Give it a shot if you don't believe me. You got more work to do, Mike. When you figure that out, I'm in the penthouse at the Hotel Earle.
[Tom turns around and walks away]
[Michael watches TV in his apartment, with the gun still in his hand. He fidgets, then stands up, takes a deep breath, and points the revolver to his right temple. He slowly pulls the trigger, but the gun does not shoot. Surprised, Michaels sits down, opens the chamber and sees that it's loaded. Michael points the gun at his temple again, his eyes shut, and before he can pull the trigger again, a news bulletin comes on TV]
MALE ANNOUNCER: We interrupt this program for a news bulletin.
FEMALE NEWS ANCHOR: The wreckage of Oceanic flight eight-fifteen has been found.
[Michael slowly opens his eyes]
FEMALE NEWS ANNOUNCER: This footage confirms the airplane did, in fact, crash at sea.
[The TV shows footage of the undersea wreckage. Michael puts the gun down]
FEMALE NEWS ANCHOR: At these tremendous depths, there is little hope of recovering any remains. Investigators are equally skeptical about the chances of retrieving Oceanic eight-fifteen's black box. The real story behind what happened to this fateful airliner may have been lost, along with the 324 passengers onboard. But even with this tragic discovery, the victims' families were hoping today...
[Michael knocks on a door. There is a round “Hotel Earle—Penthouse” sign on the door. Tom opens the door]
TOM: I didn't expect you that fast!
[Tom smiles, and motions to Michael to come inside. Tom chuckles as they walk inside. A slender, younger man is at the penthouse's bar, and hands Tom a glass of champagne]
ARTURO: Is this the guy who hit you with the champagne bottle?
TOM: Yeah, but I had it comin'.
[Tom and Arturo chuckle and clink glasses]
TOM: Arturo, Michael and I have some business we have to attend to. Would you get some air?
ARTURO: Of course.
[Arturo puts down his glass, and approaches Tom]
ARTURO: Ciao.
[Arturo and Tom kiss one another on the cheek as Michael watches. Arturo passes Michael on his way to the door, and Tom, standing next to a fruit platter, tuns to face Michael]
TOM: Help yourself to the chow. Don't make it to the mainland too often...
[Arturo shuts the door]
TOM: ..so when I do, I like to indulge myself.
[Tom eats a grape]
MICHAEL: So you people can just... come and go?
TOM: Some of us. You want a drink?
MICHAEL: What I want is for you to tell me what my plane is doing at the bottom of the ocean!
TOM: That's not your plane. It's a phony. A man named Widmore put it down there, and he staged the whole wreck.
MICHAEL: Staged? Why would he stage...
TOM: Because he doesn't want anyone else finding where the real plane ended up, except for him.
MICHAEL: I'm supposed to believe this?
TOM: [approaches Michael] Did the bullet... bounce off your skull? Or did the gun just jam on you?
MICHAEL: Prove it.
TOM: Sorry?
MICHAEL: Prove that this guy Widmore did what you say he did. Prove it!
[Tom walks away, picks up a portfolio, and tosses it to Michael. Michael picks it up, opens it, and sees a photo of a cemetery with its graves dug up]
TOM: That's the cemetery in Thailand where Widmore dug up the 300-odd corpses he needed. And the purchase order for the old seven-seven-seven he bought through a shell company...
[Michael looks at a Widmore Industries purchase order]
TOM: ... and the shipping logs for the freighter he used to drop the whole mess down a trench deep enough to guarantee that no remains are ever gonna be identified. Do you have any idea what it would cost to bring those bodies up?
MICHAEL: What do you want from me, man?
TOM: In a few days, a freighter is porting in Fiji. It's Widmore's boat. We have reason to believe he's finally found the co-ordinates of the Island, and he's headin' right for it. So congratulations, Michael. Your shore leave is over. You just got a job on that boat. Meet Kevin Johnson.
[Tom tosses a passport onto the coffee table in front of Michael]
TOM: You're joining the crew in Fiji as a deckhand.
[Michael opens the passport. His picture is already in it]
MICHAEL: You want me to go undercover?
[Tom nods slightly]
MICHAEL: Why the hell would I go back to work for you people?
TOM: Because if Widmore finds the Island, it's “good night” for everybody on it. He'll kill them all without thinkin' twice. You wanna redeem yourself for what you did? This is your only chance. You can save all their lives.
MICHAEL: No...
[Michael throws the passport down onto the coffee table and gets up]
MICHAEL: ...I can't.
[Michael turns and walks away]
MICHAEL: I can't go back to that island!
TOM: I didn't say you were goin' back to the Island.
[Michael has turned to face Tom]
TOM: You're not goin' on that boat so you can swab decks, Michael. You're goin' so you can kill everyone onboard.
[Daytime at the port of Suva, Fiji. People in the streets. A woman sells vegetables at a nearby market. Where the freighter Kahana is moored, a taxi drives up and stops. Michael gets out of the taxi, a duffel bag as his only luggage. He puts on a black ballcap, walks along the wharf, and someone says to him...]
MINKOWSKI: Hey. You our engineer?
MICHAEL: Naa...just a deckhand.
[Minkowski removes his sunglasses]
MINKOWSKI: Well, we're all equals on this boat...
[They shake hands]
MINKOWSKI: ...as long as you play decent Hold 'em. George...Minkowski.
MICHAEL: Kevin Johnson.
MINKOWSKI: Ah, ha. Nice to meet you, Kevin. All right, why don't you go check in with Naomi over there, and, uh...I'll be seein' ya? Welcome.
[Minkowski pats Michael on the shoulder and leaves. Michael walks up to where Naomi is checking in another crew member]
NAOMI: You're good to go.
[The other crew member goes aboard and Michael approaches]
MICHAEL: Uh... I'm reporting for duty. Kevin Johnson.
[Naomi looks at Michael and checks her log]
NAOMI: Naomi Dorrit...pleasure. [smiles] So you're from the States, yeah?
MICHAEL: New York.
NAOMI: Yeah, I could tell from the accent.
MICHAEL: Manchester?
NAOMI: How'd you guess? [smiles] You can head onboard. Oh, uh...one of these crates was delivered for you.
[Naomi points to a padlocked crate stencilled with the name "KEVIN JOHNSON'']
NAOMI: I'll have it delivered to your berth?
MICHAEL: Yeah. Thanks.
NAOMI: Welcome aboard, Kevin.
[Michael goes aboard. Miles is sitting on a crate, eating an orange]
MILES : [to Michael] Your name isn't Kevin.
[Michael and Miles lock eyes, Miles smiles]
MILES : Don't worry. Eighty percent of the people on this boat are lying about somethin'. Orange?
MICHAEL: No, thanks.
[Michael's cell phone rings, he walks away from Miles, and answers the phone]
MICHAEL: Yeah?
TOM: [off-camera] How was your trip?
[Tom is calling from the hotel]
TOM: I figure flying can't be too much fun for you.
[Michael looks around, warily]
MICHAEL: What do you want?
TOM: You get your care package?
MICHAEL: Yeah.
TOM: Wait a day or two until you're out in the open sea, ant then you're good to go.
[Michael looks at Naomi, who is talking with an off-camera person]
NAOMI: ...store your gear downstairs, all right? Welcome aboard, Keamy.
TOM: Oh, you met some of 'em now. Got some names and faces, and you're gettin' cold feet, huh?
MICHAEL: Yeah, actually, I am.
TOM: Well, here are a few more names for ya: Sun, Sawyer, Jack, Claire, her baby. And the only way you're gonna save their lives is if you man up and get on that boat! Or maybe you wanna come back and explain to your kid how you all them die, too? It's game time...are you in or out?
[Michael hesitates]
MICHAEL: I'm in.
TOM: Good! Then ditch your phone and go do your job.
[Tom hangs up, Michael looks around, and throws the cell phone into the water]
[Sunset at sea. The Kahana churns through the water. Michael is on deck, looking at the ocean.]
***NAOMI: [off-camera] Sorry, Frank, but I'm going first and that's all there is to it!
FRANK: [off-camera] No offense, but I was flying these things when you were still in grade school!
[Michael turns to see Naomi and Frank Lapidus arguing]
FRANK: If anybody's gotta go first, it should be me!
NAOMI: Yeah, I need you here to transport the science team, Frank.
FRANK: What the hell are you gonna be doing?
NAOMI: That's need-to-know! You don't!
[Naomi turns, walks to a door, opens it, and shuts it behind her. Michael diverts his attention from the scene. Frank walks up to Michael]
FRANK: So much for the fairer sex, huh?
[Frank chuckes, and extends his hand to Michael]
FRANK: Frank Lapidus. Chopper pilot.
MICHAEL: Kevin Johnson...
[They shake hands]
MICHAEL: ...deckhand.
FRANK: So what's your story, Kevin?
MICHAEL: Sorry?
FRANK: How'd ya end up in this tub?
MICHAEL: Lookin' for a little adventure.
FRANK: Ah...adventure. Yeah. [whispering] Well, how do you like this for adventure? You ever hear about Oceanic eight-fifteen?
MICHAEL: Yeah.
FRANK: What would you say if I told you the plane they found in that trench wasn't Oceanic eight-fifteen?
MICHAEL: What is it?
FRANK: You know those nuts that think the moon landing was faked? Well, this is like that. Only real. That's why I signed up for this trip; because the owner of this boat believes me. Charles Widmore. He believes that eight-fifteen is still out there somewhere. I mean, can you imagine what would happen... if we found some of those people alive?
[Frank leaves, Michael's eyes intent on him]
[In his berth, Michael stares at the crate, fiddling with the key to its padlock]
[The next day. Michael is scrubbing one of the walls of the boat]
KEAMY: [off-camera] Pull!
[The sound of a clay pigeon being launched and machine gun fire cause Michael to duck, then check out the action on the deck]
CREWMAN: Yahoo!
KEAMY: Pull!
[Again, a clay pigeon is launched, and Keamy shoots at it with his machine gun. Several men cheer as he does]
KEAMY: Pull!
[A third clay pigeon is launched, but Keamy misses it]
KEAMY: Another clip!
[One of the men hands him a clip. Keamy reloads]
KEAMY: Pull!
[One more clay pigeon is launched, Keamy fires, and hits it. More cheering]
KEAMY: Kill shot!
MICHAEL: Hey!
[Michael approaches Keamy, who looks at him]
MICHAEL: What are you guys doing?
KEAMY: What's it look like we're doing? We're shooting at things. Pull!
(Another clay pigeon is launched. Keamy fires. Laughter from the crewmen]
MICHAEL: I, uh... thought we were going on a rescue mission.
[Keamy turns, looks at the crew men, and they laugh at Michael]
KEAMY: Uh... don't you have somethin' to mop up?
[Keamey reloads the machine gun, Michael turns around]
CREWMAN: Come on. Let's go.
[Michael walks away]
KEAMY: Pull!
[Another clay pigeon is launched, and Keamy fires]
[Michael is in his berth, opens the crate, and beneath the packing material, finds a small hard-shelled case. He looks at the case, and the sounds of Keamy's shouting and machine-gun fire can be heard in his berth. He gets up, takes the case with him to the freighter's engine room. He lays the case down on its side, and opens it. At first, it seems that the case contains nothing more than tools, but Michael removes this false layer to reveal a bomb.
MICHAEL: [whispering to himself, pressing numbers on the bomb's keypad] Seven...one...seven...seven..six.
[breathes heavily] Okay.
[Michael finger hovers over the red Execute button. He hears “It's Getting Better,” the song playing on the car radio when he crashed his car. He turns around and sees Libby standing in the engine room]
LIBBY: Don't do it, Michael.
[Libby looks at Michael, wearing the same green t-shirt she was wearing when Michael killed her. Startled, he backs away, but she's no longer there. He walks back to the bomb, hesitates, then presses the Execute button. A digital timer buzzes as it counts down from 15]
MICHAEL: [Closes his eyes] I love you, Walt.
[The timer counts down to zero, the buzzing ends, and a small flag pops up from beside the bomb's keypad. Michael slowly opens his eyes, sees the flag, and slowly walks to the bomb to remove a slip of paper attached to the flag. He unrolls the slip of paper, which bears the message “Not yet” in black upper-case letters.
[Michael is back in his berth, bouncing a tennis ball against the wall. There's a knock at the door, and Minkowski. enters Michael's berth]
MINKOWSKI: What? Are you going Nicholson on us?
MICHAEL: What?
MINKOWSKI: You know, Jack Nicholson in “The Shining” when he's bouncin' that ball against the wall?
[Minkowski rubs his nose]
MINKOWSKI: Next thing you know, you're gonna go after your wife with an axe!
MICHAEL: I'm not married, man.
[Minkowski catches the ball]
MINKOWSKI: I'm sorry to interrupt, but you got a call.
MICHAEL: A call?
MINKOWSKI: Yeah. From the mainland. They patched it through to the radio room.
MICHAEL: It's gotta be a mistake, man. Nobody even knows I'm here.
MINKOWSKI: Well, you're the only Kevin Johnson onboard, so...somebody knows you're here. Said he really needs to talk to you. His name's Walt.
[Minkowski and Michael enter the radio room. Minkowski hands Michael a headset]
MINKOWSKI: Yeah, here you go.
MICHAEL: Hey, uh... it's kind of personal. Mind if I take this alone?
MINKOWSKI: Take your time, Kev. You just push this yellow button [points to yellow switch] and, uh...turn this knob on the console [pretends to turn the knob].
MICHAEL: Got it.
MINKOWSKI: [whispered] Okay.
(Minkowski leaves and shuts the door. Michael puts on the headset and presses the switch]
MICHAEL: Walt?
BEN: [off-camera] I'm so sorry, Michael, but he's still in New York.
[The camera reveals Ben in the secret room of his house, using a radio microphone to talk to Michael]
BEN: So I'm afraid you're stuck with me. Michael? Are you still there?
MICHAEL: You put me on this boat. Talked me into blowing it up, and when I push the damn button, a flag pops up.
BEN: You actually activated the bomb?
MICHAEL: [shouting] It's not a bomb! It's a... [quiets down]...it's a joke.
BEN: There are people on your boat who are innocent. They have no idea that the man they work for is a monster. A killer without conscience or a greater purpose. I had to show you the difference between him and me. When I'm at war, I'll do what I need to do to win, but I will not kill innocent people.
MICHAEL: Ana-Lucia and Libby? They were innocent.
BEN: You killed them, Michael. No one asked you to. I don't blame you, Michael. We did have your boy. And what wouldn't a man do for his son?
MICHAEL: What do you want from me?
BEN: [nods] I want you to compile a list of names. Every person on your boat. When I call again, you'll give me that list. Then you will disable the radio room you're sitting in. When the crew is disoriented by their lack of communication, you'll take out the engines, too. That way, the boat can never get to this island, and your friends will be safe. Will you do that for me, Michael?
MICHAEL: Yeah.
BEN: Then consider yourself one of the good guys.
[Michael removes the headset and sobs quietly, and WHOOSH]
[Sayid is looking at Michael, who has finished telling his story to him and Desmond.]
SAYID: So you're telling me... that you're working for Benjamin Linus?
MICHAEL: Yeah. Yeah, that's what I'm telling you.
[Sayid approaches Michael, gut-punches him, grabs him, turns him around, pulling Michael's right arm behind his back, and marches him out to the hallway]
MICHAEL: Hold it! Let me go! What are you doin'?
SAYID: Shut your mouth!
[Sayid barges into the Captain's office with Michael, with Desmond following]
CAPTAIN: What the hell is this?
SAYID: This man is not who you think he is. He was a passenger on Oceanic flight eight-one-five. I spent two months with him on the Island...before he betrayed us. This is the man who sabotaged your radio room. He destroyed the ship's engine. And his name isn't Kevin Johnson. It's Michael Dawson. And he's a traitor.
[Daytime on the Island. In the jungle, Rousseau leads Alex and Karl to the Temple]
DANIELLE: We stop here and drink. Two minutes, then we keep moving.
[Alex and Karl sit down and drink, and Rousseau unfolds the map. Rousseau looks up, and looks around. Karl also looks around]
ALEX: What's wrong?
KARL: Nothing.
ALEX: Karl?
KARL: I don't know. I just have a bad feeling about this. What if your dad is... playing us?
ALEX: Look, I don't like taking orders from my dad any more than you do. But I know he doesn't want me to get hurt.
KARL: [smiles] Well, at least we've got something in common.
[both chuckle, Alex smiles]
ALEX: I promise not to tell if you won't.
[They and Rousseau hear something similar to an air-blown dart. A second one pierces Karl's water bottle, causing it to leak. As Alex and Karl look at one another in puzzlement, a third one pierces Karl's chest]
KARL: Ahh!
[He falls forward. Rousseau runs to him]
DANIELLE: Alex!
[Alex is on her knees beside Karl, crying]
ALEX: Karl?
[Karl lies face-down on the ground, and does not respond]
DANIELLE: Alex!
ALEX: Karl!
[Alex rolls Karl onto his back. Still no response from him]
ALEX: Karl, Karl! No!
DANIELLE: Come on.
ALEX: No!
DANIELLE: Come on! He's gone!
ALEX: [crying] Karl!
[Rousseau grabs Alex, and pulls Alex behind her. She then pushes Alex down behind a palm tree to shield her the attacking bulletfire, joining her a second later]
ALEX: We have to get Karl!
DANIELLE: He's gone! He's gone! He's gone! Listen to me.
[Alex cries]
DANIELLE: [whispering] I need you to take my hand. On the count of three, we're going to run. Can you do that with me? I love you. I love you very much, Alexandra.
[Rousseau brushes Alex's hair from her eyes]
DANIELLE: Are you ready?
[Alex nods]
DANIELLE: One... [in normal voice] two...
(Rousseau puts Alex's hand in her own hand]
DANIELLE: ...three!
[Rousseau jumps up with Alex. A gunshot, then Rousseau falls, a bullet having hit her. Silently, Alex looks down at Rousseau, then crouches behind the palm tree, and begins to sob. She looks around, sees rustling in the jungle grass, and jumps up with her hands in the air]
ALEX: [screaming] Wait! Wait! Don't! I'm Ben's daughter! I'm his daughter!
Transcribed by: Lostitute!
.
Written by Elizabeth Sarnoff and Brian K. Vaughn
Directed by Stephen Williams
________________
[Nighttime at the Barracks. Inside one of the houses, Claire, Aaron, Rousseau, Karl, Alex, Hurley, Ben, and Sawyer sit quietly as Miles Straume enters through the front door with his hands tied in front of him, accompanied by Locke.]
LOCKE: Thank you all for your patience.
Locke closes the door.
LOCKE: I know it's taken me a few days to...figure out our next move, but I didn't want to do anything until I knew more about our situation. You deserve to know everything that I do. So...no more secrets. As you all know, Miles here, and three of his people, came to the Island about a week ago. So I brought him up from the boathouse to...share with us..exactly why they're here.
MILES: We're here for him. [points to Ben]
HURLEY: Uh, we kinda like knew that forever ago.
SAWYER: Well, all right then. Problem solved. How soon do we turn him over?
LOCKE: We can't turn him over.
SAWYER: And why the hell not?
BEN: Because once they have me, their orders are to kill everyone else on the Island.
CLAIRE: Wait. So, what...he's one of us now? You're...you're gonna protect him? He tried to kill you, John.
HURLEY: Yeah. He won't even tell us who his spy on the boat is.
BEN: It's Michael.
HURLEY: [half whispered] What?
BEN: My spy on the freighter is Michael.
SAWYER: I'm sorry. You mean, the same guy that killed two women in cold blood to set this little bastard free? And then sold all of us out so he could get off the Island, that Michael?
LOCKE: Yes, James. That Michael.
[Nighttime at the freighter. Sayid and Desmond are asleep on cots. An alarm buzzes and they awaken and go outside. On deck, they see the Captain beating up some crew members]
CAPTAIN: The rules of desertion still apply to everyone. Nobody leaves this ship without my say-so! I'm not beating these men to scare you. I beat them to save your lives! Do you remember what happened to the last two men who took off on this boat? [pats his hand on an inflatable boat] Remember what happened to Minkowski? As soon as we get the engines fixed, we're back in the hunt. In the meantime, everybody just hold on! Johnson!
MICHAEL : [off-camera] Yes, sir!
We see Michael, known on the freighter as Kevin Johnson, standing in the distance wearing a hoodie. Sayid looks at Michael with an icy glare. Michael looks at Sayid with trepidation.
CAPTAIN: Clean this mess up.
MICHAEL: Yes, sir.
CAPTAIN: [mutters something unintelligible]
The Captain leaves, some of the crew attend to the men he beat up, and as Michael pulls down his hood, Sayid walks up to him. Sayid is not happy to see him.
SAYID: Hello, Michael.
MICHAEL: Not now, man.
SAYID: Yes. Right now.
The Captain, walking upstairs to the bridge, turns around to see Sayid talking with Michael, and leaves.
SAYID: Why are you on this boat?
MICHAEL: I'm here to die.
Michael walks away from Sayid.
LOST opening sequence.
[Nighttime. The Barracks. Locke is escorting Miles away from the house, and Sawyer follows them.]
SAWYER: Hey.
[Sawyer has caught up with Locke and Miles]
SAWYER: That was a nice meetin', John. I thought there wasn't gonna be any more secrets.
LOCKE: What are you talkin' about?
SAWYER: I'm talkin' about the three million bucks your buddy here asked for. Well?
LOCKE: Yeah. Miles offered his loyalty in exchange for the money. But as I haven't seen a bank on the Island, I didn't it worth mentioning.
[Miles laughs]
SAWYER: Somethin' funny?
MILES: Linus will find a way to get it.
SAWYER: And how will he do that?
MILES: He wants to survive. And, considering a week ago you had a gun to his head, and tonight he's eating pound cake, I'd say he's a guy who gets what he wants.
[Inside the house, Claire shows Aaron to Alex and Karl as Ben looks on]
CLAIRE: Bye, guys.
[Claire leaves with Aaron, and Alex and Karl start to leave]
BEN: Alex. May I have a word with you?
[Alex exchanges a stare with Ben, and Rousseau approaches]
DANIELLE: I think we've heard enough from you for one night.
BEN: I'm sorry. You're just gonna have to listen to a little more.
ALEX: It's okay. What do you want?
[Ben withdraws a folded piece of paper from his pocket and unfolds it]
BEN: This is a map to the Temple. It's a sanctuary. It may be the last safe place on this island.
KARL: How come we don't know about this?
BEN: Well, it wouldn't be a sanctuary if I told everyone, would it? The rest of our people are already there. If you leave now, you can get there in a day and a half.
KARL: If it's safe, why don't we all go? Hurley, Claire, the baby...
BEN: Because the Temple's not for them, Karl. It's only for us. These people that are coming, they know who I am, Alex. They're here to capture me. They'll kill anybody that gets in their way. If they knew who you were, that you were my daughter, they would use you to get to me. We don't have much time.
KARL: Maybe he's right.
DANIELLE: I agree. We should go.
ALEX: These people. You said they're dangerous. More dangerous than you?
[Ben hesitates to answer]
BEN: Yes. But your mother will protect you. Okay...now go!
[Karl, Alex, and Rousseau leave the house]
[Dawn. The freighter. Desmond is on deck watching the sunrise]
SAYID: [off-camera] Where is he?
CREWMAN #1: [off-camera] Engine room.
SAYID: [off-camera] You sure?
CREWMAN #1: [off-camera] Yeah.
[The camera turns to show the Crewman leaving, and Sayid joins Desmond]
SAYID: He's in the engine room.
[Sayid walks away, and Desmond follows. In the engine room, Michael is trying to make repairs]
MICHAEL: I don't understand it. It should be workin'.
JEFF: The gaskets are all corroded.
[The two stop their work, turn around, and see Sayid and Desmond walking downstairs into the engine room]
MICHAEL: Can I help you?
SAYID: The Captain sent us down to help with the repairs.
MICHAEL: Oh...thanks. We're okay. Hey, Jeff, man, you know what? We need a pressure valve. You mind grabbin' one from the, uh, supply room?
JEFF: Not at all.
[Jeff leaves]
MICHAEL: You shouldn't be here.
(Sayid grabs Michael and pushes him up against a wall]
MICHAEL: Hey!
DESMOND: Hey, Sayid. What are you doing?
SAYID: Why are you here?
MICHAEL: Listen. If they see me talkin' to you...
SAYID: Then talk quickly!
MICHAEL: You won't understand it!
SAYID: I'll understand perfectly, Michael. And just start from the beginning...and explain how you came to be on this boat.
[WHOOSH. Flashback. A small stream of water flows from the kitchen faucet in Michael's messy apartment in New York. Michael is in a chair, writing a note. Michael looks with sadness at a picture of himself with Walt as a baby. He throws down his pencil and rips the sheet of paper from its pad. Outside the apartment building, Michael gets into his car, starts the engine, the radio plays “Mama” Cass Elliot's 1969 hit “Better Every Day”. Michael pins the note to his shirt, and drives his car away. The car is going at a very high rate of speed down an empty street, then past the docks along the waterfront.]
MICHAEL: I'm sorry.
[Michael's foot steps on the gas pedal. The speedometer shows he's going about 60 miles an hour, and Michael crashes the car into a Dumpster, then blackness and silence for a few seconds. The backglass of Michael's car is shattered, but the radio still plays “It's Getting Better”. Steam rises from under the hood, and Michael's left hand is seen on the dashboard]
Commercial break
[Close-up of Michael's left eye as it opens slowly. He looks out of both corners of his eye, and tries to get up. He is wearing a hospital gown and a neck brace, and has a canula under his nose. He hears and sees various hospital equipment, and sinks back down into the hospital bed. He notices an older white man, asleep and intubated, in the next bed. Through a window next to the room's door, a nurse is seen about to enter with blankets. Michael groans]
NURSE #1: I'm sorry. I didn't mean to wake you, Mr. Dawson.
MICHAEL: It's... what happened to me?
NURSE #1: You were in a car accident. It's a miracle you're alive.
MICHAEL: How badly am I hurt?
NURSE #1: Shhhhhhh. You just need to rest now...
[The nurse is revealed to be Libby, whom Michael killed in the Swan station on the Island]
LIBBY: ...it's a cold night.
MICHAEL: Uhn...
: I brought you some extra blankets.
[Michael screams, then realizes Libby isn't there. He looks around, sees different hospital equipment than before, and the sleeping older white man is not intubated, but instead wears an oxygen mask on his face. A nurse walks into the hospital room]
NURSE #2: Oh. Let's get some light in here.
[The nurse turns on the lights]
NURSE #2: Now I thought I heard someone shout...
[The nurse is revealed to be a brunette]
NURSE #2: ...and somethin' tells me it wasn't him. You okay? You're lucky to be alive. EMTs say they found you in a wrecked car with a note pinned to your chest.
[The nurse begins replacing an empty intravenous drip bag with a full one]
NURSE #2: You didn't have any ID on you. Want to tell me your name?
[Michael does not answer her question]
NURSE #2: Yeah, I didn't think so. You want me to call Walt?
MICHAEL: What?
NURSE #2: The note...pinned to your chest. It was written to Walt. You want me to call him?
MICHAEL: [in a whisper] No.
NURSE #2: Okay, then.
[The nurse leaves the room and shuts the door. A tabletop Christmas tree is visible through the window next to the door]
[Michael walks to the front door of a house. A fullsize Christmas tree is visible through the window next to the door. He knocks on the door, and gets no answer. He knocks again, and an elderly woman opens the door, shocked to see Michael.]
MICHAEL: Hey, Ma. Can I... come in?
MOM: No. You know the answer to that.
[She closes the door]
MICHAEL: I wanna see him.
MOM: No!
MICHAEL: Just let me talk...
MOM: I don't know what you said to that boy, but whatever it was, he doesn't want to see you.
MICHAEL: Please, Ma. He's my son! I have a right!
MOM: I thought you were dead! They said your plane crashed in the middle of the ocean. But you show up here fine and dandy! Only I can't tell anybody about you or Walt. Can't call you by your real names! He barely talks to me! But he does wake up screamin' in the middle of the night, and I'm the one that's got to tell him it's gonna be okay! So, until you can explain to me ...where you were for over two months, and what happened...you gave up your rights!
MICHAEL: Will you, uh... will you tell him I love him?
[She nods]
MOM: Yeah.
[Michael's mom goes inside and closes the door. Michael stares at the door and sighs, turns around, and walks away. He takes a few steps on the sidewalk in front of the house, turns around, and sees Walt looking down at him from his bedroom window before closing the drapes and walking away from the window. Michael turns around, and walks away. Michael enters a pawnshop]
PAWNBROKER: What can I do for ya?
[Michael removes a watch from his left wrist]
MICHAEL: How much can I get for that?
[Michael hands the watch to the pawnbroker. The watch has Korean characters engraved on its back]
PAWNBROKER: Why is there Chinese writing all over it?
MICHAEL: It's Korean, man. The guy who gave it to me.
PAWNBROKER: You don't look like you speak Korean. I'll give you three hundred for it.
MICHAEL: I'm not lookin' for money.
PAWNBROKER: What are you looking for?
MICHAEL: I want a gun. I want a gun with bullets.
[Michael walks on the sidewalk with a brown paper bag tucked under his coat. He walks down a dark alley, sits down, removes a box of bullets from the bag, pours some bullets from the box, looks around, pulls out a revolver from the bag, loads bullets into its chamber, looks around, breathes heavily]
MICHAEL: [whispering] Come on. Let's just get this done. Help me just get this done.
[Michael closes the chamber and spins it, presses the barrel of the gun underneath his chin, and a large, tall figure emerges from the shadows]
STRANGER: 'Scuse me, sir. You got the time?
MICHAEL: No, man, no.
STRANGER: Come on, Michael...
[Michael looks up]
STRANGER: ...how about for an old friend?
[The large, tall figure is revealed to be Tom, and Michael looks at him in disbelief]
TOM : Manhattan, huh? We let you leave one island, you just go to another.
[Michael stands up, fires the gun at Tom, who avoids the shot, grabs the gun, and elbows Michael in the face. Michael falls, but starts to get up]
TOM: Will you just relax? I just came here to...
[Michael lands two punches to Tom's face, Tom countering with an uppercut to Michael's jaw. Michael falls on his back]
TOM: Now are you ready to talk...like adults?
MICHAEL: Yeah.
[Tom helps Michael up, but Michael grabs a bottle with his left hand and hits Tom over the head with it. Michael smashes the bottle]
TOM: Enough!
[Michael, with the bottle now in his right hand, thrusts it under Tom's chin as Tom points the gun at Michael's chin. After Tom stares down Michael, Michael drops the bottle, and it breaks.]
MICHAEL: Do it!
[Michael shuts his eyes. He pulls Tom's hand, still holding the gun, to his forehead]
MICHAEL: Go ahead! Do it!
TOM: [Pulling the gun away] You'd like that, wouldn't ya?
MICHAEL: How'd you find me?
TOM: We're the ones who sent you home, Michael. Did you honestly think we weren't gonna keep tabs?
MICHAEL: What do you want?
TOM: Your help.
MICHAEL: Why would I help the son-of-a-bitch who kidnapped my son?
TOM: We gave him back to you in one piece, Mike. You're the one who lost him.
[The two look at one another, and Tom's expression changes]
TOM: You told him, didn't you? You couldn't carry the guilt of what you did to those two women all by yourself, so you shared it with a 10-year-old kid! Is that why you wanna kill yourself, Michael? Because that's the way he looks at you now? Because he knows you're a murderer?
MICHAEL: Go away!
TOM: I got some bad news for you, amigo.
[Michael turns and walks away]
TOM: You can't kill yourself. The Island won't let you!
MICHAEL: [turns around, facing Tom] What'd you say?
TOM: No matter how bad you want to. No matter how many different ways you try. It won't happen.
[Tom hands the gun to Michael]
TOM: Give it a shot if you don't believe me. You got more work to do, Mike. When you figure that out, I'm in the penthouse at the Hotel Earle.
[Tom turns around and walks away]
[Michael watches TV in his apartment, with the gun still in his hand. He fidgets, then stands up, takes a deep breath, and points the revolver to his right temple. He slowly pulls the trigger, but the gun does not shoot. Surprised, Michaels sits down, opens the chamber and sees that it's loaded. Michael points the gun at his temple again, his eyes shut, and before he can pull the trigger again, a news bulletin comes on TV]
MALE ANNOUNCER: We interrupt this program for a news bulletin.
FEMALE NEWS ANCHOR: The wreckage of Oceanic flight eight-fifteen has been found.
[Michael slowly opens his eyes]
FEMALE NEWS ANNOUNCER: This footage confirms the airplane did, in fact, crash at sea.
[The TV shows footage of the undersea wreckage. Michael puts the gun down]
FEMALE NEWS ANCHOR: At these tremendous depths, there is little hope of recovering any remains. Investigators are equally skeptical about the chances of retrieving Oceanic eight-fifteen's black box. The real story behind what happened to this fateful airliner may have been lost, along with the 324 passengers onboard. But even with this tragic discovery, the victims' families were hoping today...
[Michael knocks on a door. There is a round “Hotel Earle—Penthouse” sign on the door. Tom opens the door]
TOM: I didn't expect you that fast!
[Tom smiles, and motions to Michael to come inside. Tom chuckles as they walk inside. A slender, younger man is at the penthouse's bar, and hands Tom a glass of champagne]
ARTURO: Is this the guy who hit you with the champagne bottle?
TOM: Yeah, but I had it comin'.
[Tom and Arturo chuckle and clink glasses]
TOM: Arturo, Michael and I have some business we have to attend to. Would you get some air?
ARTURO: Of course.
[Arturo puts down his glass, and approaches Tom]
ARTURO: Ciao.
[Arturo and Tom kiss one another on the cheek as Michael watches. Arturo passes Michael on his way to the door, and Tom, standing next to a fruit platter, tuns to face Michael]
TOM: Help yourself to the chow. Don't make it to the mainland too often...
[Arturo shuts the door]
TOM: ..so when I do, I like to indulge myself.
[Tom eats a grape]
MICHAEL: So you people can just... come and go?
TOM: Some of us. You want a drink?
MICHAEL: What I want is for you to tell me what my plane is doing at the bottom of the ocean!
TOM: That's not your plane. It's a phony. A man named Widmore put it down there, and he staged the whole wreck.
MICHAEL: Staged? Why would he stage...
TOM: Because he doesn't want anyone else finding where the real plane ended up, except for him.
MICHAEL: I'm supposed to believe this?
TOM: [approaches Michael] Did the bullet... bounce off your skull? Or did the gun just jam on you?
MICHAEL: Prove it.
TOM: Sorry?
MICHAEL: Prove that this guy Widmore did what you say he did. Prove it!
[Tom walks away, picks up a portfolio, and tosses it to Michael. Michael picks it up, opens it, and sees a photo of a cemetery with its graves dug up]
TOM: That's the cemetery in Thailand where Widmore dug up the 300-odd corpses he needed. And the purchase order for the old seven-seven-seven he bought through a shell company...
[Michael looks at a Widmore Industries purchase order]
TOM: ... and the shipping logs for the freighter he used to drop the whole mess down a trench deep enough to guarantee that no remains are ever gonna be identified. Do you have any idea what it would cost to bring those bodies up?
MICHAEL: What do you want from me, man?
TOM: In a few days, a freighter is porting in Fiji. It's Widmore's boat. We have reason to believe he's finally found the co-ordinates of the Island, and he's headin' right for it. So congratulations, Michael. Your shore leave is over. You just got a job on that boat. Meet Kevin Johnson.
[Tom tosses a passport onto the coffee table in front of Michael]
TOM: You're joining the crew in Fiji as a deckhand.
[Michael opens the passport. His picture is already in it]
MICHAEL: You want me to go undercover?
[Tom nods slightly]
MICHAEL: Why the hell would I go back to work for you people?
TOM: Because if Widmore finds the Island, it's “good night” for everybody on it. He'll kill them all without thinkin' twice. You wanna redeem yourself for what you did? This is your only chance. You can save all their lives.
MICHAEL: No...
[Michael throws the passport down onto the coffee table and gets up]
MICHAEL: ...I can't.
[Michael turns and walks away]
MICHAEL: I can't go back to that island!
TOM: I didn't say you were goin' back to the Island.
[Michael has turned to face Tom]
TOM: You're not goin' on that boat so you can swab decks, Michael. You're goin' so you can kill everyone onboard.
[Daytime at the port of Suva, Fiji. People in the streets. A woman sells vegetables at a nearby market. Where the freighter Kahana is moored, a taxi drives up and stops. Michael gets out of the taxi, a duffel bag as his only luggage. He puts on a black ballcap, walks along the wharf, and someone says to him...]
MINKOWSKI: Hey. You our engineer?
MICHAEL: Naa...just a deckhand.
[Minkowski removes his sunglasses]
MINKOWSKI: Well, we're all equals on this boat...
[They shake hands]
MINKOWSKI: ...as long as you play decent Hold 'em. George...Minkowski.
MICHAEL: Kevin Johnson.
MINKOWSKI: Ah, ha. Nice to meet you, Kevin. All right, why don't you go check in with Naomi over there, and, uh...I'll be seein' ya? Welcome.
[Minkowski pats Michael on the shoulder and leaves. Michael walks up to where Naomi is checking in another crew member]
NAOMI: You're good to go.
[The other crew member goes aboard and Michael approaches]
MICHAEL: Uh... I'm reporting for duty. Kevin Johnson.
[Naomi looks at Michael and checks her log]
NAOMI: Naomi Dorrit...pleasure. [smiles] So you're from the States, yeah?
MICHAEL: New York.
NAOMI: Yeah, I could tell from the accent.
MICHAEL: Manchester?
NAOMI: How'd you guess? [smiles] You can head onboard. Oh, uh...one of these crates was delivered for you.
[Naomi points to a padlocked crate stencilled with the name "KEVIN JOHNSON'']
NAOMI: I'll have it delivered to your berth?
MICHAEL: Yeah. Thanks.
NAOMI: Welcome aboard, Kevin.
[Michael goes aboard. Miles is sitting on a crate, eating an orange]
MILES : [to Michael] Your name isn't Kevin.
[Michael and Miles lock eyes, Miles smiles]
MILES : Don't worry. Eighty percent of the people on this boat are lying about somethin'. Orange?
MICHAEL: No, thanks.
[Michael's cell phone rings, he walks away from Miles, and answers the phone]
MICHAEL: Yeah?
TOM: [off-camera] How was your trip?
[Tom is calling from the hotel]
TOM: I figure flying can't be too much fun for you.
[Michael looks around, warily]
MICHAEL: What do you want?
TOM: You get your care package?
MICHAEL: Yeah.
TOM: Wait a day or two until you're out in the open sea, ant then you're good to go.
[Michael looks at Naomi, who is talking with an off-camera person]
NAOMI: ...store your gear downstairs, all right? Welcome aboard, Keamy.
TOM: Oh, you met some of 'em now. Got some names and faces, and you're gettin' cold feet, huh?
MICHAEL: Yeah, actually, I am.
TOM: Well, here are a few more names for ya: Sun, Sawyer, Jack, Claire, her baby. And the only way you're gonna save their lives is if you man up and get on that boat! Or maybe you wanna come back and explain to your kid how you all them die, too? It's game time...are you in or out?
[Michael hesitates]
MICHAEL: I'm in.
TOM: Good! Then ditch your phone and go do your job.
[Tom hangs up, Michael looks around, and throws the cell phone into the water]
[Sunset at sea. The Kahana churns through the water. Michael is on deck, looking at the ocean.]
***NAOMI: [off-camera] Sorry, Frank, but I'm going first and that's all there is to it!
FRANK: [off-camera] No offense, but I was flying these things when you were still in grade school!
[Michael turns to see Naomi and Frank Lapidus arguing]
FRANK: If anybody's gotta go first, it should be me!
NAOMI: Yeah, I need you here to transport the science team, Frank.
FRANK: What the hell are you gonna be doing?
NAOMI: That's need-to-know! You don't!
[Naomi turns, walks to a door, opens it, and shuts it behind her. Michael diverts his attention from the scene. Frank walks up to Michael]
FRANK: So much for the fairer sex, huh?
[Frank chuckes, and extends his hand to Michael]
FRANK: Frank Lapidus. Chopper pilot.
MICHAEL: Kevin Johnson...
[They shake hands]
MICHAEL: ...deckhand.
FRANK: So what's your story, Kevin?
MICHAEL: Sorry?
FRANK: How'd ya end up in this tub?
MICHAEL: Lookin' for a little adventure.
FRANK: Ah...adventure. Yeah. [whispering] Well, how do you like this for adventure? You ever hear about Oceanic eight-fifteen?
MICHAEL: Yeah.
FRANK: What would you say if I told you the plane they found in that trench wasn't Oceanic eight-fifteen?
MICHAEL: What is it?
FRANK: You know those nuts that think the moon landing was faked? Well, this is like that. Only real. That's why I signed up for this trip; because the owner of this boat believes me. Charles Widmore. He believes that eight-fifteen is still out there somewhere. I mean, can you imagine what would happen... if we found some of those people alive?
[Frank leaves, Michael's eyes intent on him]
[In his berth, Michael stares at the crate, fiddling with the key to its padlock]
[The next day. Michael is scrubbing one of the walls of the boat]
KEAMY: [off-camera] Pull!
[The sound of a clay pigeon being launched and machine gun fire cause Michael to duck, then check out the action on the deck]
CREWMAN: Yahoo!
KEAMY: Pull!
[Again, a clay pigeon is launched, and Keamy shoots at it with his machine gun. Several men cheer as he does]
KEAMY: Pull!
[A third clay pigeon is launched, but Keamy misses it]
KEAMY: Another clip!
[One of the men hands him a clip. Keamy reloads]
KEAMY: Pull!
[One more clay pigeon is launched, Keamy fires, and hits it. More cheering]
KEAMY: Kill shot!
MICHAEL: Hey!
[Michael approaches Keamy, who looks at him]
MICHAEL: What are you guys doing?
KEAMY: What's it look like we're doing? We're shooting at things. Pull!
(Another clay pigeon is launched. Keamy fires. Laughter from the crewmen]
MICHAEL: I, uh... thought we were going on a rescue mission.
[Keamy turns, looks at the crew men, and they laugh at Michael]
KEAMY: Uh... don't you have somethin' to mop up?
[Keamey reloads the machine gun, Michael turns around]
CREWMAN: Come on. Let's go.
[Michael walks away]
KEAMY: Pull!
[Another clay pigeon is launched, and Keamy fires]
[Michael is in his berth, opens the crate, and beneath the packing material, finds a small hard-shelled case. He looks at the case, and the sounds of Keamy's shouting and machine-gun fire can be heard in his berth. He gets up, takes the case with him to the freighter's engine room. He lays the case down on its side, and opens it. At first, it seems that the case contains nothing more than tools, but Michael removes this false layer to reveal a bomb.
MICHAEL: [whispering to himself, pressing numbers on the bomb's keypad] Seven...one...seven...seven..six.
[breathes heavily] Okay.
[Michael finger hovers over the red Execute button. He hears “It's Getting Better,” the song playing on the car radio when he crashed his car. He turns around and sees Libby standing in the engine room]
LIBBY: Don't do it, Michael.
[Libby looks at Michael, wearing the same green t-shirt she was wearing when Michael killed her. Startled, he backs away, but she's no longer there. He walks back to the bomb, hesitates, then presses the Execute button. A digital timer buzzes as it counts down from 15]
MICHAEL: [Closes his eyes] I love you, Walt.
[The timer counts down to zero, the buzzing ends, and a small flag pops up from beside the bomb's keypad. Michael slowly opens his eyes, sees the flag, and slowly walks to the bomb to remove a slip of paper attached to the flag. He unrolls the slip of paper, which bears the message “Not yet” in black upper-case letters.
[Michael is back in his berth, bouncing a tennis ball against the wall. There's a knock at the door, and Minkowski. enters Michael's berth]
MINKOWSKI: What? Are you going Nicholson on us?
MICHAEL: What?
MINKOWSKI: You know, Jack Nicholson in “The Shining” when he's bouncin' that ball against the wall?
[Minkowski rubs his nose]
MINKOWSKI: Next thing you know, you're gonna go after your wife with an axe!
MICHAEL: I'm not married, man.
[Minkowski catches the ball]
MINKOWSKI: I'm sorry to interrupt, but you got a call.
MICHAEL: A call?
MINKOWSKI: Yeah. From the mainland. They patched it through to the radio room.
MICHAEL: It's gotta be a mistake, man. Nobody even knows I'm here.
MINKOWSKI: Well, you're the only Kevin Johnson onboard, so...somebody knows you're here. Said he really needs to talk to you. His name's Walt.
[Minkowski and Michael enter the radio room. Minkowski hands Michael a headset]
MINKOWSKI: Yeah, here you go.
MICHAEL: Hey, uh... it's kind of personal. Mind if I take this alone?
MINKOWSKI: Take your time, Kev. You just push this yellow button [points to yellow switch] and, uh...turn this knob on the console [pretends to turn the knob].
MICHAEL: Got it.
MINKOWSKI: [whispered] Okay.
(Minkowski leaves and shuts the door. Michael puts on the headset and presses the switch]
MICHAEL: Walt?
BEN: [off-camera] I'm so sorry, Michael, but he's still in New York.
[The camera reveals Ben in the secret room of his house, using a radio microphone to talk to Michael]
BEN: So I'm afraid you're stuck with me. Michael? Are you still there?
MICHAEL: You put me on this boat. Talked me into blowing it up, and when I push the damn button, a flag pops up.
BEN: You actually activated the bomb?
MICHAEL: [shouting] It's not a bomb! It's a... [quiets down]...it's a joke.
BEN: There are people on your boat who are innocent. They have no idea that the man they work for is a monster. A killer without conscience or a greater purpose. I had to show you the difference between him and me. When I'm at war, I'll do what I need to do to win, but I will not kill innocent people.
MICHAEL: Ana-Lucia and Libby? They were innocent.
BEN: You killed them, Michael. No one asked you to. I don't blame you, Michael. We did have your boy. And what wouldn't a man do for his son?
MICHAEL: What do you want from me?
BEN: [nods] I want you to compile a list of names. Every person on your boat. When I call again, you'll give me that list. Then you will disable the radio room you're sitting in. When the crew is disoriented by their lack of communication, you'll take out the engines, too. That way, the boat can never get to this island, and your friends will be safe. Will you do that for me, Michael?
MICHAEL: Yeah.
BEN: Then consider yourself one of the good guys.
[Michael removes the headset and sobs quietly, and WHOOSH]
[Sayid is looking at Michael, who has finished telling his story to him and Desmond.]
SAYID: So you're telling me... that you're working for Benjamin Linus?
MICHAEL: Yeah. Yeah, that's what I'm telling you.
[Sayid approaches Michael, gut-punches him, grabs him, turns him around, pulling Michael's right arm behind his back, and marches him out to the hallway]
MICHAEL: Hold it! Let me go! What are you doin'?
SAYID: Shut your mouth!
[Sayid barges into the Captain's office with Michael, with Desmond following]
CAPTAIN: What the hell is this?
SAYID: This man is not who you think he is. He was a passenger on Oceanic flight eight-one-five. I spent two months with him on the Island...before he betrayed us. This is the man who sabotaged your radio room. He destroyed the ship's engine. And his name isn't Kevin Johnson. It's Michael Dawson. And he's a traitor.
[Daytime on the Island. In the jungle, Rousseau leads Alex and Karl to the Temple]
DANIELLE: We stop here and drink. Two minutes, then we keep moving.
[Alex and Karl sit down and drink, and Rousseau unfolds the map. Rousseau looks up, and looks around. Karl also looks around]
ALEX: What's wrong?
KARL: Nothing.
ALEX: Karl?
KARL: I don't know. I just have a bad feeling about this. What if your dad is... playing us?
ALEX: Look, I don't like taking orders from my dad any more than you do. But I know he doesn't want me to get hurt.
KARL: [smiles] Well, at least we've got something in common.
[both chuckle, Alex smiles]
ALEX: I promise not to tell if you won't.
[They and Rousseau hear something similar to an air-blown dart. A second one pierces Karl's water bottle, causing it to leak. As Alex and Karl look at one another in puzzlement, a third one pierces Karl's chest]
KARL: Ahh!
[He falls forward. Rousseau runs to him]
DANIELLE: Alex!
[Alex is on her knees beside Karl, crying]
ALEX: Karl?
[Karl lies face-down on the ground, and does not respond]
DANIELLE: Alex!
ALEX: Karl!
[Alex rolls Karl onto his back. Still no response from him]
ALEX: Karl, Karl! No!
DANIELLE: Come on.
ALEX: No!
DANIELLE: Come on! He's gone!
ALEX: [crying] Karl!
[Rousseau grabs Alex, and pulls Alex behind her. She then pushes Alex down behind a palm tree to shield her the attacking bulletfire, joining her a second later]
ALEX: We have to get Karl!
DANIELLE: He's gone! He's gone! He's gone! Listen to me.
[Alex cries]
DANIELLE: [whispering] I need you to take my hand. On the count of three, we're going to run. Can you do that with me? I love you. I love you very much, Alexandra.
[Rousseau brushes Alex's hair from her eyes]
DANIELLE: Are you ready?
[Alex nods]
DANIELLE: One... [in normal voice] two...
(Rousseau puts Alex's hand in her own hand]
DANIELLE: ...three!
[Rousseau jumps up with Alex. A gunshot, then Rousseau falls, a bullet having hit her. Silently, Alex looks down at Rousseau, then crouches behind the palm tree, and begins to sob. She looks around, sees rustling in the jungle grass, and jumps up with her hands in the air]
ALEX: [screaming] Wait! Wait! Don't! I'm Ben's daughter! I'm his daughter!
Transcribed by: Lostitute!
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