LOST



"Outlaws"

Written by

Drew Goddard






ACT ONE

EXT. BEACH - SAWYER'S AREA - MORNING 5
5

TRACK across the scattered DEBRIS of Sawyer's area. It's a
MESS -- since the tent came down, the wind has scattered much
of the CLOTHES, MAGAZINES, and GEAR Sawyer's been hoarding.

FIND Sawyer, angrily collecting his belongings into a pile.
SAYID stands nearby, surveying the damage:

SAYID
A boar. Took you tarp.

SAWYER
(muttering)
It was dark -- but yeah. Pretty
sure it was a boar...

SAYID
I thought the boar had vacated this
area...

Sawyer clearly does not want to have this conversation.

SAWYER
Well, genius, I think we got some
bad info.

SAYID
What was it doing in your tent?

SAWYER
It was staring at me.

Sayid frowns. Sawyer realizes how ridiculous that sounds.

SAWYER (CONT'D)
Then it came at me. So I hit it.
And it took off --

He gestures toward the jungle where the boar disappeared.

SAWYER (CONT'D)
Into the jungle.

SAYID
With your tarp.
(pause; then)
Perhaps it wanted to go camping.

Sawyer grits his teeth.





5 (CON T'D): 5


SAWYER
You enjoying yourself?

Sayid thinks about it, then:

SAYID
A bit. Yes.

Sawyer shakes his head, fed up. He starts walking into the
jungle after his tent.

SAWYER
Laugh it up, Mohammed -- I get back
and find my stuff's gone, I'm
coming after you.

ON SAYID -- he takes a final glance at the wreckage, shakes
his head, and starts to walk off. After he takes a few
steps, we hear:

SAWYER (O.S.) (CONT'D)
Sayid --

Sayid turns back. Sawyer's looking at him.

SAWYER (CONT'D)
What did you hear?

Sayid doesn't understand the question. Off his look:

SAWYER (CONT'D)
After you ran into the French
Woman, you said you heard something
in the jungle...

SAYID
(shakes his head)
I was injured and exhausted. My
mind was playing tricks on me...

SAWYER
What did you hear?

SAYID
I thought I heard... whispering.

SAWYER
What was it saying?

SAYID
Why? Did you hear something?





5 (CON T'D): (2) 5


Sawyer stares at him a beat. Then:

SAWYER
Forget it.

We're CLOSE ON HIM as he turns, walks toward the jungle.

SAWYER (CONT'D)
I didn't hear anything.

WOMAN (PRE-LAP)
What are you afraid of?

INT. HOTEL ROOM - NIGHT - FLASHBACK 6
6

A hotel room door crashes open as Sawyer and a WOMAN
(thirties, attractive) tumble into the dark room. They're
ALL OVER each other, making out like horny teenagers.

SAWYER
Sweetness, I ain't the one
tremblin' here --

And if this feels a bit familiar, it should. Sawyer's in his
professional con man form. As they kiss passionately,
crashing down on the bed:

WOMAN
I can help with the investors --

SAWYER
-- we're not talkin' about this --

He kisses her, acting as though he wants nothing to do with
this conversation. She kisses back, rolls on top of him:

WOMAN
Seriously, baby -- look at me --
(beat)
How much money do you need,
exactly?

It's a beautiful moment for a con man and his prey. But it's
interrupted when a VOICE across the room says:

VOICE (O.S.)
Okay, this is really awkward...

Sawyer and the woman JUMP IN SURPRISE. They turn toward the
voice...






(PINK) 1/4/05 8.
6 (CON T'D): 6


And FIND A MAN sitting across the room at the table. He's
been there the whole time, sitting in the darkness.

He TURNS THE LIGHT ON, and we get a better look at him: This
is HIBBS. He's mid-thirties. Tough, but not as tough as
Sawyer.

HIBBS
...but if I don't say something
now, things are liable to get
downright embarrassing.

Sawyer leaps to his feet, the woman huddles behind him.

SAWYER
(eyes narrowing)
Hibbs --

HIBBS
Hello Sawyer.
(to Woman)
Ma'am -- I must apologize. I
figured my good friend Sawyer
here'd be alone.
(back to Sawyer/dead
serious)
I just need a few minutes.

Sawyer keeps his iron gaze locked on Hibbs. It's clear --
these guys have history. After a beat, Sawyer turns toward
the woman, pulls her aside. They speak in HUSHED TONES.

SAWYER WOMAN
Listen -- -- what's going on --

Go down to the bar, get a -- Sawyer --
drink --

She looks over his shoulder -- Hibbs is admiring the hotel
artwork. As Sawyer opens the door to the room:

SAWYER
Soon as I get rid of him I'll find
you and explain everything. I
promise.

He kisses her, ushering her out the door.

We're WITH HIBBS as the door shuts. He walks towards Sawyer --






6 (CON T'D): (2) 6


HIBBS
Gotta hand it to you, Sawbucks.
How you find women that beautiful
to work your --

WHAM -- Sawyer GRABS HIBBS by the throat and SLAMS HIM up
against the wall.

SAWYER
Now, if I'm not mistaken, Hibbs --

He SQUEEZES HARD. Hibbs gasps in pain. Whatever Sawyer's
doing, it looks like it hurts.

SAWYER (CONT'D)
I'm fairly certain I said I'd kill
you if I ever saw you again.

HIBBS
(between gasps)
`s why I'm here... make things
right...

Sawyer holds a beat -- then releases his grasp, shoves Hibbs
aside. Hibbs shakes it off, clearly in pain. As he regards
Sawyer.

HIBBS (CONT'D)
`Sides -- we both know you ain't
the killin' type...

He composes himself, reaches into his jacket, pulls out a
LARGE ENVELOPE. Tosses it on the table.

HIBBS (CONT'D)
There --
(points to envelope)
Figure that makes us even for the
Tampa job.

SAWYER
(still fuming)
Now Hibbs. What could possibly
make us even for the Tampa job...

HIBBS
Oh, I don't know...

Hibbs takes a beat, clearly enjoying the moment.






LOST "Outlaws" (PINK) 1/4/05 10.
6 (CON T'D): (3) 6


HIBBS (CONT'D)
How `bout the known whereabouts of
the man who ruined your life?

Sawyer's face goes cold. He looks at the envelope.

HIBBS (CONT'D)
(beat)
I'm gonna make myself a drink. You
want one?

Sawyer shakes his head, walks over to the table, sits down.
Hibbs opens the MINIBAR. As he pours himself a drink, we
notice Hibbs is missing his LEFT RING-FINGER just above the
first knuckle (why? That's another episode, my friends...)

HIBBS (CONT'D)
You remember Old Man Parks, right --
ran capper for us on that gig in
Atlanta.

SAWYER
What about him?

HIBBS
(beat)
We still talk from time to time --
he's been working the wire at an
off-track parlor down in Sydney.
(beat)
So last week, one of his regulars
gets a little too sauced, starts
running his mouth about his glory
days as a grifter...

Sawyer opens the envelope -- pulls out a FILE. On top of
which is a PHOTO. A MAN IN HIS LATE-FIFTIES. Shot with a
LONG LENS, SURVEILLANCE-STYLE.

HIBBS (CONT'D)
This guy --
(taps photo)
"Frank Duckett." Real hard-luck
case -- gambling addict, alcoholic,
runs a shrimp truck --
(aside)
You know what a shrimp truck is?

SAWYER
(after a beat)
A truck that sells shrimp?





6 (CON T'D): (4) 6


HIBBS
(to himself)
Damnit. It is obvious. I owe
Parks a fifty...
(taps photo)
Back in the day, this guy Duckett
used to be quite a hustler...
(beat)
He ran the romance angle -- hook
the wife, take the husband for all
his money. Used to be pretty good
at it, too, from what I hear...
(beat)
Until, sadly, one of his marks in
despair took a gun, shot up his
wife, and blew his own head off...
(eyeing Sawyer)
All in front of their little boy...

ON SAWYER, feeling the full weight of what he's holding. He
leafs through the file, we see various FORMS -- police
records, DMV printouts.

HIBBS (CONT'D)
I paid Tony to pull his jacket --
turns out "Frank Duckett" used to
be named "Frank Sawyer..." The
name I believe you appropriated for
yourself.

SAWYER
(quietly)
This is him...

HIBBS
(nods)
That's him.

CREEP IN on Sawyer, his eyes going cold as he looks at the
photo of the man who ruined his life --

7
7 EXT. OUTSIDE THE VALLEY - MORNING

WE'RE LOOKING DOWN THE BARREL OF A GUN, MACRO-CLOSE. AND --

It FLIPS up, TWIRLS around deftly -- Now its HANDLE OUT. And
we RACK FOCUS to find the gunslinger is --

KATE
Thanks for the loaner.






7 (CON T'D): 7


KATE stands with JACK by the tree where he stows THE
HALLIBURTON CASE.

JACK
Always a pleasure.

Jack takes the gun from Kate, EJECTS the CLIP as he places
both pieces back into the case.

KATE
Anyone curious where they came
from?

JACK
The others know there was a Marshal
on the plane. Guess they assume he
was travelling alone. Protecting
them from terrorists.
(beat; then)
Sounded like a good theory to me.

ON KATE. A moment of silent THANKS --

Jack LOCKS up the case, ties the LEATHER STRAP with THE KEY
back around his neck.

KATE
You get all of the guns back?

JACK
All except one.

KATE JACK
Who...?
-- How about I give you three
guesses?

KATE
Sawyer.

Jack gives her a look -- "Of course it's fucking Sawyer." --
Puts the Halliburton in its hiding place, begins to CAMO the
opening.

KATE (CONT'D)
I can get it back.

JACK
(uh huh)
Really. How you gonna do that?






7 (CON T'D): (2) 7


KATE
I speak his language.

Jack finishes secreting the case. Turns to Kate... shaking
his head --

JACK
We've done this before, Kate. If I
remember it right, you made out
with him and never even had what
you said you could get.

Beat. Kate could try to defend herself here. But instead --

KATE
I only made out with Sawyer because
torturing him didn't work.

Another beat. Then Jack can't help but GRIN at the pure
absurdity of it. Tension broken --

JACK
Let him keep the gun. It's not
worth it.

KATE
Why? You afraid he's gonna shoot
me if I ask?

JACK
(serious now)
No. I just don't want you to owe
him anything.

And that's as close as Jack will ever get to declaring that
he might just be JEALOUS. And OFF KATE, perhaps appreciating
precisely that...

8
8 EXT. OUTSIDE THE VALLEY - MORNING

Michael has a makeshift worktable on which he's sawing
lengths of bamboo for his raft project.

CAMERA TRACKS to find CHARLIE sitting off by himself, BINDING
a piece of BENT WRECKAGE to the end of one of the GOLD CLUBS.
And with just one look at him, it is instantly clear -- This
is not the Charlie we know and love. Something just... OFF.

CLOSE on him -- VERY focused on the task at hand, wrapping
the WIRE around and around and around.






8 (CON T'D): 8


CLAIRE (O.S.)
Hey.

Charlie looks up, sees CLAIRE. He offers a smile, but
doesn't come close to selling it.

CHARLIE
Hi.

Awkwardness. She's got amnesia. He just killed a man. What
the fuck are they going to talk about?

CHARLIE (CONT'D)
How are you feeling?

CLAIRE
(shrugs; vulnerable)
Very pregnant.

Charlie just nods and continues BINDING. Not rudely... just
DISTRACTED. After watching him for a few beats --

CLAIRE (CONT'D)
I had... dreams last night. More
like memories, actually. You were
in them. I...
(beat)
They were nice dreams.
(beat)
Thought I'd see if you wanted to
take a walk...

She's obviously reaching out. Trying to make some kind of
connection. But Charlie's so focused, it takes him a beat to
realize what she's saying.

CHARLIE
Sorry. Can't right now. There's...
(reluctant)
...something I have to do.

HURLEY (O.S.)
Dude -- not the golf club.

Charlie and Claire turn to see HURLEY -- standing there with
a makeshift TOOL (kinda resembles a shovel) of his own.

CHARLIE
It was all I could find.






8 (CON T'D): (2) 8


HURLEY
You used the sand wedge?
(shakes his head)
Jack will spaz.

Charlie hops to his feet. Offers Claire that weird smile --

CHARLIE
Excuse me. We've gotta...
(not gonna go there)
I'll see you later, all right?

CLAIRE
Sure. Yeah. All right.

And Charlie walks off.

Hurley stands there for a beat, looking at Claire. And he's
got no fucking idea what to say to her. So he just raises
his hand, offers a little WAVE --

HURLEY
Bye.

Hurley shuffles off after Charlie. And OFF Claire,
displaced, confused... and ALONE --

9
9 EXT. JUNGLE - DAY

Sawyer walks through the dense jungle, searching for --

HIS BLUE TARP

It's in a clearing, the wind's blown it up against the tree.
Sawyer gathers it up in his arms, heads back toward camp.

EXT. JUNGLE - TALL GRASS - DAY - CONTINUOUS 10
10

We're with Sawyer as he walks through TALL GRASS. He's got
his tarp in his arms. As he walks, we hear the wind blowing
through the grass, and ever-so-faintly:

WHISPERED VOICE
I was gonna pay --

Sawyer stops in his tracks. Did I just hear that?

As he listens closely, he hears RUSTLING. Coming from BEHIND
HIM. He turns around and sees MOVEMENT IN THE GRASS.
Something's out there...

10 (CON T'D): 10


We catch a glimpse of it -- it's THE BOAR. And it's charging
right towards Sawyer.

Oh. Shit.

Sawyer starts to run. HANDHELD CHAOS as he sprints through
the jungle. He throws his tarp away. As he flees, we catch
glimpses of the beast -- blurs of fur amidst the grass. This
thing's moving fast.

BOAR POV -- as it rushes up right behind Sawyer --

The animal SHRIEKS and Sawyer's legs are cut out from under
him as the beast runs him down. Sawyer goes down hard,
headfirst into the mud. We catch QUICK, FRENETIC POPS of the
beast as it TRAMPLES SAWYER.

It all happens fast... And then it's over. The beast is
gone. It disappears into the tall grass. Just like that.

Leaving Sawyer facedown and trampled in the mud.

He slowly gets to his feet. He's filthy. Breathing hard.
Sore as shit from the hit. But he checks himself over -- no
severe damage.

WE'RE CLOSE ON HIS FACE as his fear hardens into anger.

SAWYER
SON OF A BITCH --

HARD CUT TO:

EXT. BEACH - SAWYER'S AREA - DAY 11
11

A KNIFE IS SLAMMED INTO A SCABBARD. WIDEN OUT AS Sawyer
shoves it into his BACKPACK. He's focused -- angry
determination etched on his face.

WE PULL BACK as he rummages through the debris of his site,
packing for the hunt. He shoves various articles of FOOD and
CLOTHES into his pack.

And then we see Kate is there with him.

She sees Sawyer's site is a mess -- debris scattered about --
and he's filthy, covered in dried mud from his run-in with
the boar.

KATE
A boar. Did all this.





11 (CON T'D): 11


We can just feel the frustration rising off Sawyer.

SAWYER
Yes. A boar did all this.
(ranting)
Last night, it wrecked my tent.
Then, this morning, when I was
going to get my tent back, it
attacked me from behind, and ran
off into the jungle. Like a
coward.

Long beat as Kate stares at him.

KATE
A boar wouldn't... attack you for
no reason.

SAWYER
Thank you, boar expert. This one
did.

He searches through a pile, looking for something in
particular...

SAWYER (CONT'D)
(muttering)
It's harassing me...

He finds what he's looking for: HIS GUN.

KATE
What are you doing?

He checks the magazine, slams it into his gun. Tucks the gun
into his waistband.

SAWYER
Gettin' even.

KATE
(rolls eyes)
Listen to yourself. It's a boar.
Let's just... tell Locke, he'll go
kill it.

SAWYER
(muttering)
Nope. It's my fight...






11 (CON T'D): (2) 11


KATE
Do you know anything about hunting
boar?

He doesn't say anything as he straps on his backpack.

KATE (CONT'D)
Those things are dangerous.

SAWYER
So am I.

She glances to the heavens -- oh christ.

KATE
You're gonna get yourself lost. Or
worse...

SAWYER
Since when did you care?

KATE
I don't.

SAWYER
Good. Then if you'll excuse me...

CLOSE ON HIM as he walks by her, heading into the jungle --

SAWYER (CONT'D)
I got some revenge to tend to.

CUT TO BLACK:


END OF ACT ONE








ACT TWO

EXT. JUNGLE - DAY 12
12

Hurley pokes at something BELOW FRAME with a STICK.

HURLEY
Dude, I know how this works...

Charlie enters frame, sees what Hurley's doing:

CHARLIE
Trust me. He's dead.

We WIDEN TO REVEAL he's poking at a DEAD BODY wrapped for
burial in airplane blankets. Charlie holds his shovel,
Hurley's is next to his feet.

HURLEY
We put him in the ground,
everything seems cool, then when
we're about to leave, his hand pops
out of the dirt --

Charlie takes his shovel, breaks ground. Shrugs.

CHARLIE
(matter of fact)
S'pose we'll have to bury him deep,
then...

Hurley keeps his wary eyes focused on the body.

HURLEY
(shakes head)
Doesn't matter. There's no grave
that can hold the undead.
(beat)
No, this ends with you and me
running through the jungle,
screaming and crying --

CHARLIE
Hurley --

HURLEY
-- and then he catches me first,
`cause I'm heavy and I get cramps --

CHARLIE
Hurley --

Hurley snaps out of it, looks at Charlie.




12 (CON T'D): 12


CHARLIE (CONT'D)
(kind)
You don't have to do this, y'know.
I mean -- I appreciate the help and
all, I really do...
(beat)
But I killed Ethan. I can bury him.

And Charlie says it so simply, it brings Hurley back to
reality. He exhales:

HURLEY
Nah. I'm good.

He takes one last look at the body, then picks up his shovel.

HURLEY (CONT'D)
Let's just get it done.

Charlie nods. Hurley breaks ground next to him.

We're CLOSE ON HURLEY as he glances at Charlie -- how is
Charlie so calm about this?

EXT. JUNGLE - DAY 13
13

WE'RE MOVING SLOWLY through the dense foliage of the jungle
to find Sawyer creeping through the trees.

He's focused. Not making a lot of noise. It's clear he's in
tracking mode -- he gets low, studies --

A PRINT

Barely visible in the soil.

Sawyer looks it over, surveys the jungle in front of him. As
he does all this, we start to get the sense that Sawyer may
in fact know what the hell he's doing.

That is, until:

KATE (O.S.)
That's a footprint.

Sawyer's face falls. He turns and looks behind him. Finds
Kate walking out of the trees. She's wearing a BACKPACK. As
she speaks, it's all very matter-of-fact, no sense of
smugness whatsoever:






13 (CON T'D): 13


KATE (CONT'D)
(looking it over)
Based on the weight, distance
between strides... I'm pretty sure
you've been tracking Boone for the
last hour.

SAWYER
(annoyed)
Look --

KATE
Could be Jin, I suppose...

SAWYER
I'm tickled you've taken such an
interest in my affairs -- I really
am -- so don't take it personal
when I tell you to go --

KATE
I want carte blanche.

SAWYER
(after a beat)
What?

KATE
It's pretty simple. You can't
track this boar without my help.

SAWYER
Is that right?