Registration for Battle For the Island 4 has closed as all the places have been filled. If Knotty.Girl sent a PM to anyone and they haven't replied back concerning BFTI4, they have until tomorrow to get back to her.

There are still a couple people who have not replied back with their characters profile information, and that is needed. You won't be sent your role or password until Knotty has it!

BFTI starts on June 2nd!!!

This from Kristin:

Good morning, taters, and welcome to summer, better known around here as naptime! (Kidding!) Even though sweeps is past, there's still much TV news and gossip for us to share. In this installment of the Vine, I have a little season-four Lost rumor you'll be interested to hear, and scads more Office goodness from the upfronts. Among other things, next year, The Office jumps the shark. Find out how! Press play to get the good times rolling!

Drop the cut for the vid!

[FLASHBACK]

[We see a close up of a glass ballerina figurine tumbling through air in slow motion in front of a fire before it crashes to the ground, shattering. A little girl looks guilty and runs out of the room. She goes to another room and starts to practice piano with a metronome. Mr. Paik enters with a bag filled with the broken remains of the ballerina and drops it at the little girl's feet.]

MR. PAIK [subtitled]: Did you do this? Sun -- did you break the ballerina? [young Sun shakes her no] Then who did?

YOUNG SUN [subtitled]: The maid.

MR. PAIK [subtitled]: If you tell me the maid did this I will be forced to fire her. Do you understand? [young Sun nods her head yes] Sun, who broke it?

YOUNG SUN [subtitled]: The maid did.

MR. PAIK [subtitled, looking disappointed]: Very well.

[Back on the island we see Sun splashing water on her face in the bathroom on the sailboat -- looking like she doesn't feel well. Jin knocks on the door.]

JIN [off camera, subtitled]: Sun -- open the door.

SUN [opening the door, subtitled]: I'm okay; it's just morning sickness.

[Jin looks upset and leaves.]

SUN [subtitled]: Jin, wait.

[We see the sailboat offshore, nearby the column of black smoke coming from the signal fire they lit in Live Together, Die Alone. Sayid is adding a notation to one of Danielle's maps.]

JIN: [speaks in Korean (1)]

SUN: My husband says it's time to leave.

JIN: [speaks in Korean (2)]

SUN: He doesn't think Jack and the others are coming. It's been over a day since we lit the fire. They should be here by now.

SAYID: Jack knows we're out here. He's counting on our signal. Perhaps he's not able to see the smoke. If he's North of us, the mountains would block his view.

SUN: [translates to Jin in Korean]

SAYID: We need to sail forward along the coast, clear the mountains, and start another signal fire.

SUN: [translates to Jin in Korean]

JIN: No!

SAYID: I told Jack I would light a fire. I'm not abandoning him.

SUN [subtitled]: Sayid says...

JIN [subtitled]: We're not sailing anywhere! [he grabs Sun's shoulders angrily] Sayid's not your husband!

SUN: My husband thinks we have to do as he says because he's the only one who knows how to sail. But he's wrong. I can help you sail the boat.

[We see Jack sitting in the corner of his cell. Someone opens the door for her and Juliet enters carrying a tray of food.]

JULIET: Are you feeling any better? I made the soup myself, but I won't take it the wrong way if you don't like it.

[Juliet exits, goes to another door and knocks. Ben opens the door and we can see a bank of screens used to monitor what's happening in various locations, like Jack's cell.]

BEN: You never made soup for me.

[A woman, Colleen, climbs down a ladder and enters the room where Juliet and Ben are.]

COLLEEN: Am I interrupting something?

JULIET: Would it really matter if you were?

COLLEEN: We have a situation -- Ryan radioed in -- the Iraqi found the decoy village.

BEN: Good, it's what we wanted.

COLLEEN: Ryan followed him back to the shore and they have a sailboat.

BEN: How?!

COLLEEN: I have no idea.

JULIET: So they have a boat -- sailing in circles will keep them busy.

COLLEEN: They could find us. [long pause] Ben?

BEN: I'm thinking. How quickly can you put together a team?

COLLEEN: Within the hour.

BEN: Then don't waste time talking to us. [Colleen starts to exit] Hey Colleen, I want that boat.

COMMERCIAL BREAK

[We see Sawyer work the levers to release a fish biscuit and food. The music starts and Kate awakens.]

KATE: Nice alarm clock.

SAWYER: I've woken up to worse. [We see Pickett and some Others entering] Want half a fish biscuit?

[Pickett and the guards open the cage doors and Pickett hands Sawyer a lunch box.]

SAWYER: What's this?

PICKETT: Lunch -- we're going to need you to keep up your strength.

SAWYER: Is that right?

[We see Kate and Sawyer being led along a path. Colleen approaches with a small group of Others.]

COLLEEN: Danny, wait!

PICKETT: Hold up.

COLLEEN [whispering]: They have a boat. (There's more whispering that's inaudible.)

PICKETT: Okay, be careful out there.

[Pickett gives Colleen a kiss on the cheek, as Sawyer looks on.]

PICKETT: What are you looking at?

[We see Sayid loading a gun on the boat while Jin looks toward shore with binoculars. Sun approaches.]

JIN [subtitled, getting ready to leave]: I have to adjust the sails.

SUN [subtitled]: I'm sorry, Jin. I shouldn't have disagreed with you. Not in front of Sayid.

JIN [subtitled]: You shouldn't have disagreed with me. Period. Sun, why did you come with us?

SUN [subtitled]: You know why I came. I didn't want to be without you.

[FLASHBACK]

[We see Sun in bed looking sad. Someone next to her sits up, and it's revealed that it's Jae.]

JAE: What's wrong?

SUN: What's wrong is I'm married.

JAE: Right. That.

[They kiss.]

SUN [subtitled]: Jae, I can't. I can't. I'm sorry... [she starts to get out of bed]

JAE [subtitled]: Sun. Wait. [he opens a box, revealing a pearl necklace.]

SUN [subtitled]: Jae, it's beautiful. But I can't wear this. Jin will ask where it came from...

JAE [in English]: I don't want to share you anymore. Your English is excellent now. You can go to America.

[A knock on the door surprises them.]

JAE: Does anyone know you're...

SUN: No!

[Jae answers the door and sees a hotel employee.]

JAE [subtitled]: What are you doing here? Get out of my...

[Suddenly Mr. Paik comes into the room.]

JAE [subtitled, bowing]: Sir. I didn't realize...

[Mr. Paik walks into the room until he can see Sun. Sun looks ashamed and closes her eyes.]

MR. PAIK: Get dressed.

[Back on the island, we see several people working to clear an area, tamping down the ground, hoeing, etc. We see Kate and Sawyer being led into the area.]

PICKETT: Alright, here's the jig -- see these rocks, here? That's where you two come in. [pointing to Kate] You're going to chop them loose. [pointing to Sawyer] And you're going to haul them out of here.

KATE: You expect me to work in this dress?

PICKETT: Well, it's up to you? You can take it off if you want.

[Sawyer looks at her and smiles salaciously. Kate gives him a dirty look.]

SAWYER [to Pickett]: How dare you?

PICKETT: Now, if you need anything -- you raise your hand. You get 10 minutes for lunch.

SAWYER [raising his hand]: I got a question, boss.

PICKETT: No questions.

SAWYER: She got to ask a question.

PICKETT: If you try to run off, you will be shocked.

SAWYER: Shot?! We don't even get a warning?

PICKETT: Shocked. I said, shocked. If you talk to each other you're going to be shocked. If you touch each other, you're going to be shocked. If you're slacking, you're going to get shocked. Matter of fact, if you do anything at all that pisses me off, you're going to get shocked. Okay? Let's get to work.

KATE: I'm not doing anything until I see Jack.

[Pickett walks toward her, then shocks Sawyer with a taser-like device. Sawyer drops to the ground.]

PICKETT: Now, that was a quarter charge. You got anymore questions?

[Pickett walks over to Sawyer and yanks his head back by the hair.]

PICKETT: As soon as you're able to walk -- the wheelbarrow's right over there.

COMMERCIAL BREAK

[We see Jin in Mr. Paik's office.]

JIN [subtitled]: You wanted to see me, Sir?

MR. PAIK [subtitled]: Come in. Please sit down. [he slides a file across his desk toward Jin] We have a problem.

[Jin opens the file and sees a picture of Jae.]

MR. PAIK [subtitled]: This man has been stealing from me. I need you to put an end to it.

JIN [subtitled]: What did he steal?

MR. PAIK [subtitled]: That's not important!

JIN [subtitled]: Of course. [pause] I'll deliver a message.

MR. PAIK [subtitled]: A message won't suffice! I need you to put an end to it.

JIN [subtitled]: I cannot do that.

MR. PAIK [subtitled]: Of course you can.

JIN [subtitled]: Sir, it's not my job to...

MR. PAIK [subtitled]: Your job is what I say it is.

JIN [subtitled]: Then I can't work for you anymore. I quit. [Jin starts to exit]

MR. PAIK [subtitled]: You don't get to quit! This man has shamed me! You married my daughter, Jin -- that makes you my son. My shame is your shame. I need you to restore our family's honor.

[Back on the island we see Jin in the galley of the sailboat, chopping a fish. Sun calls down to him in Korean and he comes up on deck. Sayid and Sun show him the Pala Ferry dock.]

SUN: Why should there be a dock all the way out here?

JIN: Others.

SAYID: The dock's decaying. It's overgrown. It looks like it hasn't been used in quite some time. Whoever built it -- they're not here now.

SUN: [speaks in Korean]

SAYID: Let's bring the boat in. We'll tie it to the dock and build a fire on the beach. The visibility's excellent. Jack will be able to see us for miles around.

JIN: Safe?

SAYID: Yes, Jin. Of course it's safe.

[We see Kate breaking rocks with a pickaxe. Sawyer stops to watch her ass. We see Pickett and Juliet looking over some plans in the background. Pickett notices Sawyer watching Kate.]

PICKETT: Hey! Get back to work.

SAWYER: Whatever you say, boss.

[Someone hiding in the bushes throws a rock to get Kate's attention. Kate looks around to see Alex.]

ALEX: Hey, careful. Don't let them see you talking to me. Are they keeping you in the cages? [Kate nods] Did you see another guy in there with you -- about my age, named Karl?

KATE [whispering]: No. Just Sawyer and me.

ALEX: You're not even supposed to be in that cage.

KATE: What are you talking about? Who are you?

ALEX: Where'd you get that dress?

KATE: They gave it to me.

ALEX: It's mine. You can keep it. It looks better on you anyway.

[Sawyer approaches and Alex takes off.]

KATE: Wait.

SAWYER: Are you having fun yet, Freckles?

KATE: Quit staring at my ass.

SAWYER: Give me something else to stare at.

PICKETT: Hey! Shut up!

SAWYER: Yes sir, boss.

[We see Sun walking along the dock carrying a gas can. Sayid is stacking wood for a fire.]

SAYID [taking the gas]: Thank you.

SUN: What else can I do?

SAYID: Help your husband. We need as much wood as we can find.

SUN [suspiciously]: We're building quite a large fire.

SAYID: We need to make sure Jack will see the smoke.

SUN: Why are you lying to me, Sayid?

SAYID: And what would you know about lying, Sun?

SUN: You're putting our lives in danger. [she starts to leave]

SAYID: I'm fairly certain our friends have been captured. There are tracks all over the dock. They're fresh -- as recent as yesterday.

SUN: You said this dock was abandoned.

SAYID: That would be part of the lying you mentioned.

SUN: You're not building this fire for our people; you're building it for the Others.

SAYID: I suspect that when they see the smoke they'll send a scout party to investigate. By then it will be night. When they arrive, I'll ambush them. I'll take two of them hostage, and I'll kill the rest.

SUN: Two?

SAYID: One to make the other cooperate.

SUN: What do you need me to do?

SAYID: I'm sorry, but I'm going to have to ask you to lie to Jin for another 20 minutes.

SUN: Why?

SAYID: Because once the fire is lit it will be too late to go back.

COMMERCIAL BREAK

[FLASHBACK]

[We see Jin arriving home.]

SUN [subtitled]: You're home.

[There is tension in the air as Jin doesn't speak, but just sits down at the dinner table.]

JIN [subtitled]: How was your day?

SUN [subtitled]: Fine.

JIN [subtitled]: I saw your father today.

SUN [subtitled]: Oh?

JIN [subtitled]: He called me "son" for the first time.

SUN [subtitled]: Why did he do that?

JIN [subtitled]: He wants me to deliver a message.

SUN [subtitled]: Are you going to do it?

JIN [subtitled]: I have to.

SUN [subtitled]: No, Jin -- you don't.

JIN [subtitled]: You think it's that simple?

SUN [subtitled]: We can start a new life. We'll go away...

JIN [subtitled]: A new life? If we run away, you're father would...

SUN [subtitled]: He won't know where we are. And you won't have to do this anymore -- you won't have to...

JIN [subtitled, banging the table]: I do this for you, Sun! I do this because your father expects it. I do this because that's what it takes to be married to you.

SUN [subtitled]: And what does it take to be married to you? [Jin starts to leave] Jin. Where are you going?

JIN [subtitled]: To deliver the message.

[Back on the island we see Jin watching Sayid start the fire. He approaches.]

JIN: Gun.

SAYID: I don't think I understand.

JIN: [speaks in Korean]

SAYID [to Sun]: What is it?

SUN: He knows what we're doing. He knows it's a trap.

JIN: [speaks in Korean (3)]

SUN: He says he understands English better than I think he does.

JIN: [speaks in Korean (4)]

SUN: He knows I betrayed him.

JIN: Gun.

SAYID [handing him a pistol]: Can you handle one of these? It's an automat...

[Jin expertly handles the gun, checking the ammo and loading it.]

JIN: [speaks in Korean, motioning to the boat (5)]

SAYID [to Sun]: I think you'd be safer on the boat. [Sun starts to leave.] Sun, if by chance they get past us -- there's another gun. It's inside the blue tarp beneath the galley counter.

SUN: If they get past you, that means my husband is dead. And I won't care anymore.

SAYID: As I said, the gun is inside the tarp.

[We see Juliet drinking from a canteen and chatting with an other guy. Sawyer is unloading a barrow full of rocks nearby, and watches them. Juliet notices him staring and throws him the water canteen. He catches it and then empties it on the ground. He watches Kate hacking away at the rocks. He thinks a second, then marches up to her and kisses her. Pickett and another guy run over, shouting. Pickett smashes Sawyer in the head with the butt of his rifle. A fight ensues with Sawyer fighting 3 of the Others. He gets a taser away from one guy, but it doesn't work when he tries it. He gets a gun that's fallen on the ground.]

SAWYER [pointing the gun]: Back off!

JULIET: James!

[Sawyer looks around and sees Juliet pointing a gun at Kate.]

JULIET: Put the gun down. Right now. [very calmly] Put the gun down.

[Sawyer drops the gun, and Pickett walks up and taser's him.]

[Nighttime. We see Sayid and Jin hiding on the beach waiting to ambush the Others. We see Sun in the galley of the boat making tea. Suddenly Others are sneaking onto the boat. Sun hears them and grabs the gun.]

COMMERCIAL BREAK

[FLASHBACK]

[We see Jin sitting in his car, a picture of Jae and a gun on the dash. He finally sees Jae and follows him in the hotel. He approaches Jae menacingly just as Jae's about to go into a room.]

JAE: Wait!

[Jin smashes Jae's head into the door, takes him into the room, and violently throws him around.]

JIN [subtitled, punching Jae]: Do you know who I am? Do you know why I'm here?

JAE [subtitled]: I'm sorry.

JIN [subtitled]: Then you know what I have to do.

[Jin puts a gun to Jae's head. Jae starts crying.]

JAE [subtitled]: I'm sorry. I'm sorry.

[Jin won't kill him and pulls the gun away.]

JIN [subtitled]: You will leave this country. Do you understand me?! You will leave and never come back. Start a new life. And if I hear you've returned -- if you have any contact at all -- I will finish this. Am I clear?! You don't exist.

[We see Jin get in his car, and rest for moment. Suddenly there is a sound and Jae falls, crashing onto Jin's car from above. Jin gets out and sees Jae's dead. We see he's holding the pearls he wanted to give to Sun in his hand.]

[Back on the island, Sayid and Jin are still waiting in the bushes.]

SAYID: I don't think they're coming.

[At the boat we see the Others stealthily climbing onto the boat. Colleen enters the galley, and Sun comes out from hiding, pointing her gun.]

SUN: I want you to let me off this boat.

COLLEEN: I can't do that.

SUN: Why not?

COLLEEN: It's not my decision to make. [they hear a noise coming from above] Do you realize there are 5 of my friends up there?

SUN: Lower your voice.

COLLEEN: Okay. [Colleen starts to move]

SUN: Stop; or I'll shoot.

COLLEEN: No you won't, Sun. I know you, Sun-Hwa Kwon. And I know you're not a killer. But despite what you may think, I'm not the enemy. We are not the enemy. But if you shoot me, that's exactly what we'll become. [she moves toward Sun]

SUN: Stop! I will -- I'll shoot you.

[The boat engine starts up; and Sun fires hitting Colleen in the gut. Colleen falls. Sun runs and closes a door as an Other fires at her. Sayid and Jin hear the gunfire and start running for the boat. As they get to the dock the Others fire at them. We see Sun trying to open a hatch overhead. The boat starts pulling away and Jin jumps in the water after it. Sun gets the hatch open, Tom takes a shot at her and she falls in the water. The boat continues to move on. Jin yells for Sun and finally hears her call back to him. He reaches her, speaks in Korean and they hug.]

COMMERCIAL BREAK

[FLASHBACK]

[We see Sun standing a ways off at Jae's funeral. Her father approaches from behind.]

MR. PAIK [subtitled]: You shouldn't be here.

SUN [subtitled]: Father. What are you doing here?

MR. PAIK [subtitled]: I do business with the young man's father. I'm told he jumped from a balcony. He must have felt great shame. Now -- go home to your husband.

SUN [subtitled]: Father. Will you ever tell Jin?

MR. PAIK [subtitled]: It's not my place to tell him.

[Back on the island we see Sun sitting on the beach. Jin puts a blanket around her shoulders and kisses her cheek.]

JIN [subtitled]: I don't know what I'd do without you. [he touches her belly] Both of you.

SAYID [entering]: I'm sorry I dragged you into this. And please communicate to your husband that next time I will listen to him. We should go. We have a long walk ahead of us.

[We see Sawyer and Kate being put back in their cages. Sawyer is coughing and in pain.]

KATE: Are you okay?

SAWYER: Never better.

KATE: What the hell were you thinking?

SAWYER: I couldn't help myself -- you just looked so damn cute swinging that pickaxe. Chain gang looks good on you, Freckles.

KATE [calling his bluff]: Sawyer.

SAWYER: Two of those guards got some real fight in them. The rest of them, I'm not so much worried about. That heavy-set guy -- he packs a hell of a punch. The shaggy-haired kid's got some kind of martial arts training, but I think I could take him if I had to. Oh, FYI -- those zapper things got a safety on them.

KATE [smiling]: Did you see the look on their faces when you got a hold of that rifle?

SAWYER: I'm guessing most of these boys have never seen any real action. But that blond who had a gun pointed at you? She would have shot you -- no problem.

KATE: Why'd she call you James?

SAWYER: Because that's my name. I noticed something else, too. You taste like strawberries.

KATE: You taste like fish biscuits. So what do we do now?

SAWYER: Well, Shortcake, now we wait for these bastards to make a mistake.

[We suddenly see this conversation between Kate and Sawyer is being watched by Ben on one of the screens in the room he was in earlier.]

SAWYER: Sooner or later, they're going to let their guard down. And when they do, we're going to be there to put them in their place.

[We see Jack in his cell, on the floor with his back up against the wall. The camera pulls back and we can see Ben is in the cell.]

BEN: Hello, Jack. [he sits on a small chair he brought in] You know what's crazy, Jack? A week ago, you and I were in exactly the opposite situation. I was the one locked up and you were the one coming in for visits. And I know that you were angry that I lied to you about who I was; but, hell, do you blame me? I mean, let's face it, if I had told you I was one of those people that you and your friends have been calling Others all this time it would have been right back to Sayid and his -- fists. Wouldn't it?

JACK: What do you want from me?

BEN: I want for you to change your at--perspective. And, the first step in doing that would be for me to be decent enough to introduce myself honestly, so -- [he crouches down beside Jack and extends his hand to shake] Hi, my name is Benjamin Linus and I've lived on this island all my life. [pause] You're not going to shake?

[Ben walks to the door and someone starts rolling a cart into the room.]

BEN: Bring it in, please.

JACK: Where are Kate and Sawyer?

BEN: They're fine; and they're close. That's all I'm able to tell you right now.

JACK: You can tell me anything you want.

BEN: Fair enough. It's all I want to tell you. I'm going to make this really simple, Jack. If you cooperate; we send you home.

JACK: Cooperate with what?

BEN: When the time is right, I'll tell you...

JACK: You tell me now.

BEN: Patience, Jack. Patience.

JACK: Home -- is that where you sent Walt and Michael?

BEN: Yes.

JACK [laughing]: If you could leave this island why would you still be here?

BEN: Yes, Jack, why would we be here?

JACK: You're lying. You're stuck here just like we are. You don't have any...

BEN: Your flight crashed on September 22nd, 2004. Today is November 29th. That means you've been on our island for 69 days. Yes, we do have contact with the outside world, Jack. That's how we know that during those 69 days your fellow Americans re-elected George W. Bush; Christopher Reeve has passed away; the Boston Red Sox won the World Series. [Jack starts laughing] What?

JACK: If you wanted me to believe this, you probably should have picked somebody else besides the Red Sox.

BEN: No, they were down 3 games to none against the Yankees in the league championship, and then they won 8 straight.

JACK [laughing]: Sure. Sure, of course they did.

[Ben turns toward the cart that was rolled in the turns on a TV. It shows the Red Sox winning the World Series. Jack moves toward the TV in disbelief and watches the end of the game. Ben turns the TV off.]

BEN: That's home, Jack. Right there, on the other side of that glass. And if you listen to me -- if you trust me -- if you do what I tell you when the time comes -- I'll take you there. I will take you home.

[Shot of an eye opening; we see a woman (only her hand) select a CD and put it in a player. The camera reveals her as a new character. She looks in a mirror and tries to smile as the song (Downtown by Petula Clark) starts to play. But she's obviously upset and almost starts to cry. She shakes it off and we hear an alarm beep. She runs to her smoking oven and pulls out a pan of burnt muffins, burning her hand in the process. Someone rings the doorbell and she opens the front door. We see an older women who notices a towel wrapped around the other woman's hand.]

JULIET: I burnt my hand -- on my muffins.

[They hear a noise and both look over to see someone working on the house. We can only see his legs.]

AMELIA: Still hasn't fixed your plumbing yet?

WORKER GUY [still not fully visible]: It's a work in progress.

[Scene switches back to inside the house, a little while later. We see a group of people sitting around the coffee table in the living room.]

ADAM: It's not even literature. It's popcorn.

AMELIA: And why isn't it literature, Adam? I'm dying to know.

ADAM: There's no metaphor. It's by-the-numbers religious hocum-pocum.

AMELIA: No metaphor?

ADAM: It's science-fiction -- now I know why Ben isn't here.

JULIET: Excuse me?

ADAM: I know the host picks the book; but seriously, Julie, he wouldn't read this in the damn bathroom.

JULIET: Well, Adam, I am the host and I do pick the book. And this is my favorite book. So I am absolutely thrilled that you can't stand it. Silly me for sinking so low as to select something that Ben wouldn't like. Here I am thinking that free will still actually exists on...

[Suddenly there is violent shaking like an earthquake. Everyone gets up.]

JULIET: The doorway -- get into the doorway.

[They all move to doorways and wait until the shaking stops. After it subsides we're outside and see everyone coming out of their homes. We see a brief shot of Ethan, discovering that he was the man working on Juliet's house. Then, we see the person we know as Henry Gale coming out of another house. Everyone looks up at the sky. They see a plane flying over which then breaks apart in mid-air and crashes.]

GALE: Goodwin, did you see where the tail landed?

GOODWIN: Yeah, probably in the water.

GALE: You run and you can make that shore line in an hour. Ethan, get up there to that fuselage. There may actually be survivors; and you're one of them. A passenger -- in shock -- come up with an adequate story if they ask. Stay quiet if they don't. Listen, learn, don't get involved. I want lists in 3 days. Go.

[Goodwin and Ethan run off. Henry notices Juliet standing nearby holding a Stephen King book.]

GALE: So I guess I'm out of the book club.

[The camera moves so that we can see a wider and wider shot of the Other's group of houses and how it's situated on the island.]

COMMERCIAL BREAK

[FLASHBACK]

[We see a shot of a pager, badge, and a crossword puzzle on a car seat. We hear Moonlight Serenade playing on the radio. The camera reveals Jack sitting in his car. He's watching some kids in a playground at a school when he notices Sarah approach a man who is carrying some art supplies. They talk and laugh as Jack stares moodily.]

[Back on the island we see Jack awaken to find himself lying on a metal platform. He peels off a band-aid and cotton ball that's covering a puncture wound in the crook of his arm. He unsuccessfully tries to open a door, and then tries to reach another area, but runs into a wall of reinforced glass which is one entire wall of his cell.]

JACK [yelling]: Kate! Kate, can you hear me! Kate!

[Scene switches to water from a shower hitting the ground. We see Kate come to; and then Tom (Mr. Friendly) is revealed. They're in a sort of locker room.]

TOM: Rise and shine, Kate.

KATE: Where am I?

TOM: You don't really think I'm going to answer that, do you?

KATE: Where are Sawyer and Jack?

TOM: I'll tell you what, why don't you just take a nice hot shower -- wake yourself up -- wash the day off you and start fresh. There's a nice clean towel, soap, shampoo...

KATE [defiantly]: I'm not showering in front of you.

TOM [laughing]: Kate, you're not my type.

[Tom exits and we see Kate remove a band-aid and cotton ball from her arm, as well.]

[The scene switches to a shot of Sawyer lying on the ground outside, coming to. He looks up and sees he is in a cage. We see a building nearby and a long walkway with a Dharma logo stenciled on the awning. The camera pans to show another man in a cage across from Sawyer's.]

SAWYER: Hey. [the guy looks over, but doesn't respond] Where are we? Who the hell are you? Oh, you ain't gonna talk to me? What -- you got more important things to do?

[Sawyer looks around the cage and sees a large circular "button" protruding from the one solid wall of the cage. Inside it are a white fork and knife under a plexiglass-type cover. We also see a couple of large levers in different parts of the cage and a chute that's near the "button". Sawyer pushes the button and a voice from a speaker says: Warning. Sawyer pushes the button again and the speaker again says: Warning. Sawyer is about to push the button a third time when...]

KARL: I wouldn't do that.

SAWYER: If I want your advice -- I'll ask for it.

[Sawyer pushes the button again and is shocked with electricity; he flies across the cage crashing in the bars.]

SAWYER: Son-of-a-bitch!!

KARL: Told you.

[Back in Jack's cell we see a red light flashing on a security-type camera. There is a long metal chain attached to ceiling of the cell and Jack tries pulling on it hoping to find a way out.]

UNKNOWN VOICE: Stop that.

[Jack looks and sees a women. We see that it's Juliet on the other side of the glass.]

JULIET: Hi, Jack. I'm Juliet.

COMMERCIAL BREAK

[FLASHBACK]

[We see Jack enter an office building and check-in with a receptionist.]

JACK: Hi, I'm Jack Sheppard. I'm here...

SARAH [from a couch behind Jack]: Where's your lawyer?

JACK [sitting with her]: You look pretty.

SARAH: Where's your lawyer?

JACK: I fired him. Sarah, I'm sorry for, for pushing us to this place. I know that I...

[Sarah's cell phone rings.]

SARAH: Excuse me; I'm sorry. [she answers the call and walks a bit away] Yeah, um, no not yet. He just got here. [She laughs] I'll call you when I get home. [she goes back to the couch] Jack, I'm going to say this as simply as I can...

JACK: What's his name?

SARAH: Jack, stop it.

JACK: I'm not going to stop it. I'm going to keep asking you that until you tell me.

SARAH: No, I don't ask you what you do in your...

JACK: Just tell me what his name is! I want to know who he is. Look, you can have everything -- the cars, the house -- I don't care. I just want to know the name of the man that is with my wife.

[Sarah stares at him but doesn't respond. Finally, she gets up and leaves.]

[Back on the island we see Jack continuing to pull on the chain.]

JULIET [turning up the volume on a sound board]: Jack, can you hear me in there? [he continues yanking the chain] Is that a yes?

JACK: Where are my friends?

JULIET: Come down from the table first.

JACK: You want me to come down -- come in here and get me down.

JULIET: If you want to talk, I'm happy to...

JACK: Tell me where my friends are!!!

JULIET: I will -- if you let go of the chain.

JACK: You think I'm stupid!

JULIET: I don't think you're stupid, Jack. I think you're stubborn.

[Jack continues pulling on the chain.]

[Scene switches to Kate showering. She exits the stall in a towel and discovers her clothes are missing.]

KATE [calling out]: Hey! Where are my clothes?

[She notices a partially open locker door with a strip of masking tape across it that says: Wear this. She pulls out a flowery sundress and put it on. Suddenly Tom appears.]

TOM: [whistles appreciatively at how nice Kate looks] Come on, Kate. He's waiting.

[Tom and three armed guards escort Kate through a covered walkway and to a beach where Henry is waiting under a thatch-roofed structure at a table laden with breakfast foods. Henry pulls out a chair for Kate. Kate sees a pair of handcuffs lying on the table.]

GALE: Sorry, I'm going to have to ask you to put those on, Kate.

KATE: And if I don't?

GALE: Then you don't get any coffee.

[Kate puts the cuffs on.]

GALE: A little tighter. [Kate gives a defiant look] Please.

[Kate makes the cuffs tighter.]

KATE: What did you do with Sawyer and Jack?

GALE: Now why Sawyer?

KATE: Why Sawyer what?

GALE: He's the first one you asked about. "What did you do with Sawyer and Jack?"

KATE: You don't know me.

GALE: Of course I don't.

KATE: I want my clothes back.

GALE: We burned them.

KATE: Why did you bring me here? Why did you make me put on this dress? Why are you feeding me breakfast?

GALE: I brought you here so you'd look out at the water and feel comforted -- comforted that your friends were looking out at the same ocean. I gave you the dress so that you'd feel like a lady. And I wanted you to eat your food with a real live fork and feel civilized. I did all those things so that you'd have something nice to hold on to. Because, Kate, the next two weeks are going to be very unpleasant.

COMMERCIAL BREAK

[FLASHBACK]

[We see Jack sitting in his office, talking on the phone.]

JACK: Yeah, hi. Uh, I met a woman on the train. Sarah. And she dropped her cell phone and I don't even know her last name. But your number was in her phone so I was just wondering... I'm sorry, forget it.

[Christian enters the office.]

CHRISTIAN: Hey.

JACK: Just give me a minute, Dad. [Christian walks toward Jack's desk] I asked you to give me a minute here.

CHRISTIAN [indicating the list of phone numbers Jack has]: What's this? Why are you dialing all the numbers on Sarah's cell phone?

JACK [dialing another number]: Because one of them is him.

CHRISTIAN: You've got to stop this, Jack. It's over.

JACK: Not until I know his name -- where he works, where he lives, when they first kissed. I want to know what it is about him.

[Christian's cell phone rings.]

JACK: Why is Sarah calling you, dad?

CHRISTIAN: I think it's time that you let this go.

JACK: Why is she calling you?!

CHRISTIAN: Because she was afraid -- for you.

JACK [yelling]: I want to know exactly why the hell she was calling...

CHRISTIAN: She could see that you were slipping -- you were losing your grip.

JACK: My grip is not the problem here.

CHRISTIAN: Which is exactly what's happening here. Jack, I think I know a little something about being obsessive.

JACK: No, being a drunk is not obsessive.

CHRISTIAN [exiting]: Let it go, Jack.

[Back on the island we see Jack letting some water from the ceiling drip into his mouth. He quickly spits it out. He hears a lot of static on a speaker.]

JACK [to the speaker]: What? If you're trying to talk to me, I can't hear you.

[Jack hears the voice of his father come over the speaker: Let it go, Jack. A light suddenly comes on and we see Juliet with a tray of food and water.]

JULIET: I know you're hungry. I brought this for you. This is how it will work. You sit there across from the door, back against the wall. I open the door and leave the tray. Can I trust you to do that, Jack?

JACK: I don't want your food.

JULIET: Well, it's a delicious sandwich...

JACK: I want you to tell the guy who's trying to talk to me through that intercom that he can give it up.

JULIET: Maybe you're hungrier than you think. That intercom hasn't worked in years.

JACK [pointing to button behind Juliet]: What's that for -- the button -- what's it for?

JULIET: It's for emergencies.

JACK: Who's watching me?

JULIET: Are you going to sit against the wall so I can open the door? [we get a shot of a grilled cheese sandwich] It's just off the frying pan.

JACK: You can have it.

JULIET: What do you do, Jack? What's your profession?

JACK: I'm a repo man. You know, when people don't pay their bills I go into the bank and collect their possessions. I'm a people person so I really love it.

JULIET: Are you married?

JACK: No. I never saw the point. What about you? What's your job, besides making sandwiches?

JULIET: Oh, I didn't make it. I just put the toothpicks in. When your plane crashed, where were you flying from?

JACK: Sydney.

JULIET: What were you doing there?

JACK: I was bringing my father home.

JULIET: Why would you go all the way to Australia just to...

JACK: Because he was dead.

JULIET: I'm sorry.

JACK [laughing]: Yeah, I'm sure you are. Thanks.

JULIET: You can trust me, Jack. I'm not going to hurt you.

JACK: What the hell is going on here?

[Juliet exits, taking a bite of the sandwich before she goes.]

[We see Sawyer trying to work out the lever-puzzle in the cage.]

KARL: Hey. Hey, how long would it take to get to your camp?

SAWYER: What, you talking to me now, Chachi?

KARL: From where they got you, how long a walk was it? A day, two days? And what are the people like from your plane?

SAWYER: Oh, they're just awesome. [we see Karl picking the lock to his cage while Sawyer's busy on the puzzle] Last one of you boys came for a visit got tortured by our Iraqi. He tortured me, too. But hell, he don't know any better.

[Sawyer turns and is surprised to see Karl's cage door open. We hear a loudspeaker say: Subject escaped; subject escaped. Karl suddenly comes into frame right in front of Sawyer, and then starts picking the lock to Sawyer's cage.]

SAWYER: Hey, how'd you get out of there?

KARL [opening the door and pointing]: Run that way.

SAWYER: Hold on!

KARL: You run that way!

[Sawyer starts running as Karl runs in the other direction. Sawyer stops and tries to get his bearings. Suddenly Juliet appears.]

JULIET: Hey.

[She smiles, then pulls a taser-like device and shoots Sawyer in the neck with a dart that immediately drops him. We see Sawyer being dragged back to his cage by Tom and another man. Once Sawyer is back in his cage, Tom drags Karl to Sawyer's cage and shoves his face up to the bars.]

TOM: Say it. Say it, Karl.

KARL: I'm sorry. Sorry, I involved you in my break out attempt.

COMMERCIAL BREAK

[We see Jack sitting in his cell. Juliet enters the outer area with a tray of food and water.]

JULIET: The drugs we gave you when we brought you here have a pretty serious side-effect -- dehydration. Your head is probably sore, your throat is raw. If you don't eat or drink something soon you're going to start hallucinating.

JACK: So, you're a doctor, huh?

JULIET: No, I'm a repo woman. No strings attached. You don't have to answer any questions. You don't have to do anything but sit with your back up against the far wall. Let me open that door, put the plate down and leave. I know it feels like you're giving up, like you're losing, if you do anything that I ask you to. But you're not. You need to eat. What do you say?

[Jack slowly moves to the far wall and sits.]

JULIET: Thank you, Jack.

[Juliet exits without giving Jack any food.]

[FLASHBACK]

[We see Jack at the hospital in a patient's room with a nurse. His father is in the hall in the background.]

JACK [to the nurse]: Let's take out the epidural catheter and get him started on a PCA.

[Jack sees his father take a call from his cell.]

NURSE: You sure he's ready to self-administer his pain meds?

[Jack is so intent on his father, who he sees talking and laughing on the phone, that he doesn't respond to the nurse.]

NURSE: Dr. Sheppard...

[We see Christian pull up in front of a hotel. Jack is right behind and follows him into a room. He enters and finds Christian getting some coffee in a small conference room.]

CHRISTIAN: Jack?

JACK: Give me your cell phone.

CHRISTIAN: What? What?

JACK: I want to see it. Now.

CHRISTIAN: Look where you are, Jack. I mean, just look around you, please.

JACK: Give me the phone.

CHRISTIAN: This is not the place for this.

MODERATOR: You must be Jack. Why don't you grab a chair and join us?

JACK: You know me?

MODERATOR: Yes, your father's told us all about you.

JACK: Yeah, what's he told you about me? What did you tell them about me, dad? That your son never really had it -- not like the old man. I didn't have the will to make it work? My life, my job, my marriage. What did you tell them about my marriage, dad?!! You want to know how he manages his marriage? A bottle of scotch every night before dinner.

MODERATOR: Your father has been sober 50 days now. We're very proud of that.

JACK [laughing]: Wow, dad, I wonder what helped you turn that corner? Do you think maybe it was a new lady friend? Do you think maybe that's what...

CHRISTIAN: I will not let you you talk to me...

JACK: I will not let you sleep with my wife.

CHRISTIAN: Jack, I'm your father. Jack, please just let it go.

[Jack suddenly runs at Christian and tackles him.]

[Back on the island we see Jack in his cage. Juliet starts to enter and Jack runs at her. He takes the taser/dart weapon, and puts a sharp piece of broken plate to her throat.]

JACK: Which way out?

JULIET: Don't do this, Jack. Don't. Don't.

[He drags her to a hatch-like door with a wheel lock.]

JACK: Open the door.

JULIET: No. I can't. I can't, Jack. I do that -- we die. I'm not. I'm not.

JACK: Open the door!!

JULIET: I can't! I swear I can't!!

GALE [appearing]: She's telling the truth, Jack.

JACK: I swear to god, I will kill her.

GALE: Okay. Have her open the door and she dies anyway. We all do.

[Jack pushes Juliet away and starts to open the door. Henry and Juliet start running. Henry runs out a door and quickly closes it behind him, leaving Juliet in the same area as Jack. We hear a loud creaking sound and suddenly a huge gush water pushes the door in and throws Jack backward. Juliet grabs onto a pipe and grabs Jack.]

JULIET: Jack, over here!

[Together they push the door closed.]

JULIET: The button! The yellow button, the button!!

[Jack pushes the button and when he turns around Juliet clocks him, knocking him out.]

COMMERCIAL BREAK

[We see Sawyer stretching to reach a rock outside of the cage. He grabs the rock and places it on one of the levers. He throws his shoe at another lever. Sawyer has figured out the puzzle. A congratulatory song plays through the speaker and a voice says: Reward, reward. We see a large fish-shaped cracker drop down the chute.]

SAWYER [picking up the cracker]: Oh, come on. Unbelievable.

[A pile of food pellets then drop down the chute. Sawyer takes a bite of the cracker, and water starts coming out of a pipe. Sawyer drinks.]

TOM [off camera]: Keep moving.

[We see Kate being led to the cage Karl used to occupy.]

TOM: Stick your arms out through the bars; I'll take off your cuffs. They scratched you up pretty bad, didn't they? I'll bring you some anti-septic later.

SAWYER: How about you bring me an ottoman? While you're at it I could use a blow dry.

TOM: Hey, you got yourself a fish biscuit. How'd you do that?

SAWYER: I figured out your complicated gizmos, that's how.

TOM [exiting]: Only took the bears 2 hours.

SAWYER [calling after Tom]: How many of them were there? [to Kate] You okay, Freckles?

KATE [looking terrified, but trying to be tough]: Yeah. You?

SAWYER: Just swell. I requested that cage, but whatever. Nice dress.

KATE: They made me wear it.

SAWYER: You hungry?

[Sawyer tosses her the fish biscuit and she hungrily takes a bite.]

[We see Jack in his cell and hear some whale-like sounds. Juliet is sitting a desk looking at some papers in a file.]

JACK: It's an aquarium.

JULIET: Excuse me?

JACK: This thing's for what -- sharks?

JULIET: Dolphins, too.

JACK: We're underwater, aren't we?

JULIET: Yes.

JACK: Is this one of their stations -- the Dharma Initiative?

JULIET: They called it the Hydra.

JACK: So you people are just whatever's leftover of them.

JULIET: Well, that was a long time ago. It doesn't matter who we were. It only matters who we are. We know exactly who you are, Jack Sheppard.

JACK: You don't know anything about me.

JULIET: We know that you're a spinal surgeon based out of St. Sebastian's Hospital in Los Angeles. I know that you went to Columbia and that you graduated med school a year faster than anyone else. I know that you were married only once and that you contested the divorce. I know your father died in Sydney. I know this because I have a copy of his autopsy report.

JACK: How did you get...

JULIET: We got it.

JACK [referring to the file Juliet has]: What is that?

JULIET: This, Jack, is your life.

JACK: Do you -- is it just about me or is it about my family, too -- my friends.

JULIET: It's pretty much about everything.

JACK: Do you know about my -- about my ex-wife.

JULIET: Sarah. Yes, Jack, we know all about her. What would you like to find out?

[FLASHBACK]

[We see Jack in a prison cell.]

GUARD [opening the door]: Sheppard, someone posted your bail.

[Jack walks around a corner in the jail, putting his wedding ring back on, and sees Sarah waiting.]

JACK: How'd you, uh...

SARAH: Your dad told me you were here. I called you a cab. So, um, goodbye. [she exits]

JACK [following her out]: Sara!

SARAH: What?!

JACK: Is that him? [referring to a man waiting by a car across the street]

SARAH: What difference does it make?

JACK: It just does.

SARAH: It's not going to change anything.

JACK: I want to know! I need to know who he is.

SARAH: It doesn't matter who he is. It just matters who you're not. Jack, your father -- he called me to help you. He was so drunk I could hardly understand him. Look at the bright side. Now you have something to fix.

[ Back on the island we're still with Jack and Juliet.]

JULIET: Jack. Jack. What would you like to find out?

JACK: Is she -- is she happy?

JULIET: Yes, Jack, she's very happy. Now, I'd like to bring you some food and water. But this time I need to know that you'll behave. Can I trust you, Jack? Put your back against the wall, please.

[Jack moves to the far wall and sits down. Juliet exits without giving Jack any food. We see Henry waiting for her.]

GALE: Good work, Juliet.

JULIET: Thank you, Ben.

Download Lost Q&A

Ok, im a little curious, so i've done a Q&A of all three seasons of lost,  I know you probably have better stuff to do with your time, but  i'd just like to know...

 

Please email your finished Q&A'S back to tears.ofdeath@ntlworld.com

 

Everyone who enters will get a sig saying "I slaved over this q&a and all i got was this lousy sig!"

Click the links below for transcripts of all episodes from Season 3!

A Tale Of Two Cities

The Glass Ballerina

 

[We see everyone on the beach running toward shore, toward the boat.]

CHARLIE: Are we rescued?

REDSHIRT: Saved?

[Jack, Sayid, and Sawyer swim out toward the boat while the folks on the beach yell and look on. Kate looks through binoculars.]

CHARLIE: You see anything?

KATE: No.

CHARLIE: Maybe it's a trap?

HURLEY: What do you mean a trap?

[Jack, Sayid and Sawyer reach the boat and climb aboard. They hear music coming from below deck.]

SAWYER: You hear that? [Jack nods]

[Suddenly shots are fired from below. Then we can hear the trigger being pulled, but no shots being fired.]

VOICE [from below]: Damn it.

[Jack, Sayid and Sawyer kick in the door that leads below with their guns drawn. We see Desmond drunk and disheveled sitting on the floor.]

DESMOND: You. [He laughs]

COMMERCIAL BREAK

[We see Kate with a group of redshirts around her, asking her questions.]

KATE: Okay, okay, just wait one second, okay. I'll be right back. [She approaches Jack] Everybody needs to know what's going on, Jack. There's a boat...

JACK: Just tell them Desmond's back until I find out the rest, okay.

[Jack exits and approaches Desmond who's sitting near a fire, drinking.]

JACK: So, before you ran off, I guess you just forgot to mention that you still have a sailboat. Why'd you come back?

DESMOND [laughing]: Do you think I did it on purpose? I was sailing for two and half weeks, bearing due West and making 9 knots. I should have been in Fiji in less than a week. But the first piece of land I saw wasn't Fiji, was it? No. No, it was here—this, this island. And you know why? Because this is it. This is all there is left. This ocean and this place here. We are stuck in a bloody snow globe. There's no outside world. There's no escape. So, just go away, huh. Let me drink.

[Sayid approaches and Jack gets ready to leave.]

DESMOND: Are you still pushing it?

JACK: Yeah, we're still pushing it.

[FLASHBACK]

[We see Desmond at a counter talking to a soldier in a prison. The soldier is taking items out of an envelope.]

MASTER SERGEANT: Set of keys; one pocket watch, gold plated; one photograph (the same picture Desmond had in the hatch); one book, Our Mutual Friend. Why didn't you bring that inside?

DESMOND: To avoid temptation, brother. I've read everything Mr. Charles Dickens has ever written - every wonderful word. Every book except this one. I'm saving it so it will be the last thing I ever read before I die.

MASTER SERGEANT: Nice idea, as long as you know when you're going to die. [He stamps "discharged" on some papers] Lance Corporal Desmond David Hume your sentence is hereby complete and you are now and forever dishonorably discharged from the Royal Scotts Regiment of Her Majesty's Armed Forces. Long live the queen. Enjoy your sodding book.

[We see Desmond exiting the garrison as a limo pulls up. A man, Charles Widmore, rolls down the window.]

WIDMORE: You want a ride?

DESMOND: Not with you.

WIDMORE: Get in the car.

[Desmond gets in and notices boxes on the seat.]

DESMOND: Did you bring me a present?

WIDMORE: Actually, two presents. One of these boxes contains your past, Hume. The other, your future. Go ahead, open it.

[Desmond opens a box and finds it filled with letters which are unopened and addressed to Penelope Widmore, sent by Desmond.]

DESMOND: You're a bastard, you know that?

WIDMORE: The fact that she never received your sentiments is good for her. Good, because as far as she's concerned you've forsaken her. And that's the way it's going to stay.

DESMOND: Is it now?

WIDMORE: Penelope's moved on, Hume. She's getting married. [He opens the other box which is filled with money.] This is for your new life—away from my daughter. The conditions are simple—no contact, no calls, no posts. You just run away, Desmond.

DESMOND: And what makes you think I would just run away?

WIDMORE: Because you're a coward.

[Back on the island we see Sayid and Jack walking on the beach.]

SAYID: On the way to the funeral I told you that Michael had been compromised by the Others, and then you asked me how we might take advantage of that. I believe fate has given us our answer—the boat.

JACK: The boat?

SAYID: This camp Michael is leading you to across the island—that is where they will set their trap. While Michael leads you by land, I can approach far more quickly by sea. And I can go ashore undetected.

JACK: Go ashore and do what?

SAYID: Scout them—their numbers and positions, their weapons. Then I'll go to the nearest beach and start a signal fire with these [he holds up some leaves]. They burn with a dark, black smoke. You and your team will come to meet me at the signal and we will go in together.

JACK: We're not even sure if Michael's been turned by them.

SAYID: He has been turned.

JACK: I'll have to tell Kate, and Hurley and Sawyer what we're doing.

SAYID: No. Michael cannot sense we know he is lying. All we have is the element of surprise, Jack. Right now it's only your responsibility to keep it secret.

JACK: Black smoke, huh?

SAYID: This time they will know that we are coming.

[We see Locke enter the hatch and approach Eko. The timer is at 5:00 minutes.]

EKO: Hello, John. Where have you been?

LOCKE: I've been thinking.

EKO: About what?

LOCKE: That in a minute that computer's going to start beeping, and when it does you're going to let it go. You're going to let it run down to zero, past zero. And you're not going to push the button.

EKO: But I am going to push the button. Why wouldn't I?

LOCKE: Because you don't want to be a slave.

EKO: I am a slave to nothing.

LOCKE: You're a slave to that [pointing to the timer clock], just like I was. So I'm going to tell you again—don't push it.

EKO: Do not tell me what I can do.

[Eko starts entering the numbers. Locke grabs his stick and tries to smash the computer but Eko stops him and they struggle.]

LOCKE: You cannot push that button.

[Eko knocks Locke to the ground, pushes the button and starts leading Locke out of the hatch.]

LOCKE: No, it's not real. We're only puppets—puppets on strings. As long as we push it, we'll never be free.

EKO [pushing him out of the hatch]: Well, you're free now, John. Do not come back.

LOCKE: No.

[We see Jack give Michael a gun. He tries to give one to Hurley.]

HURLEY: No way. I'm not even going to kill someone.

SAWYER: Ain't that the point?

HURLEY: I thought the point was to get Walt back.

[Jack hands Kate a gun. She looks pensive.]

JACK: What's the matter?

KATE: All that stuff we found in the medical station—costumes, make-up, fake beards—what if these people just want us to think they're hillbillies?

MICHAEL: Listen, I was there. I saw them. They are hillbillies. They live in huts; they eat fish; they're probably more scared than we are. And they have no idea we're on our way.

SAWYER: Alright, enough jibber-jabber, let's roll.

COMMERCIAL BREAK

[We see Sayid approach Desmond on the beach.]

SAYID: I need your boat.

DESMOND: I wouldn't waste your time. There's nothing out there, pal.

SAYID: I'm not going out there. I need to get to the North shore of the island, and quickly.

DESMOND: Going to see the hostiles, are you?

SAYID: What?

DESMOND: You know what, ignorance is bliss. The boat's all yours, brother, for all the good it'll do you.

SAYID: I don't know how to sail.

DESMOND: Then I suggest you find someone who does.

[FLASHBACK]

[We see Desmond at a coffee bar counter.]

DESMOND: Just give me which ever one has the most caffeine in it, brother. [he opens his wallet] Damn, um, I'm sorry. I've just arrived and I spent all my American money on a taxi.

LIBBY [putting money on the counter]: I've got it.

DESMOND: That's not necessary.

LIBBY: It's just 4 bucks.

DESMOND: I don't suppose you have 42,000 more of those do you?

LIBBY: Depends on what it's for.

DESMOND: I was joking.

LIBBY: No you weren't.

[We see Libby and Desmond sitting with each other. Libby is looking at a brochure for a sailing race. There's a picture of Widmore on the brochure.]

LIBBY: So, a sailing race around the world?

DESMOND: I have 8 months to get into the best shape of my life. I'll tell you what, miss, I'm going to win.

LIBBY: And what do you get if you do?

DESMOND: What really matters is who I win it for. [he pushes the brochure toward her]

LIBBY [looking at the brochure]: Charles Widmore.

DESMOND: He tried to buy me off. And when I didn't take his money, he took away the only thing in the world that I ever truly cared about.

LIBBY: Who is she?

DESMOND: His daughter. I was unsuitable on several levels.

LIBBY: And what' the 42 grand for?

DESMOND: It's a wee bit complicated. As of yet, I don't actually have a boat. [Libby looks sad] Sorry, did I say something wrong?

LIBBY: I have a boat. It was my husband's but he got sick. He wanted to sail the Mediterranean—he never—he passed away about a month ago.

DESMOND: I'm sorry.

LIBBY: I want you to have it.

DESMOND: I can't take your boat, miss.

LIBBY: But you have to. He'd want you to.

DESMOND: What was your husband's name?

LIBBY: David.

DESMOND: And what did he name his boat?

LIBBY: Elizabeth. He named it after me.

DESMOND: Then I thank you, Elizabeth. And I shall win this race for love.

[Back on the beach, we see Jin approach Sun and Sayid.]

JIN: [Speaks in Korean.]

SUN [to Sayid]: Would you excuse us, please?

SAYID: I'll be at the shore.

SUN [subtitled]: Sayid wants you to sail the boat to the other side of the island. To help Michael.

JIN [subtitled]: No. I won't leave you. Not now.

SUN [subtitled]: You won't leave, Jin, because I'm coming with you.

[We see Michael, Sawyer, Jack, Hurley and Kate walking through the jungle. Sawyer sees a doll and starts to reach for it, but Kate stops him.]

KATE: Don't even think about it. It's a trap—a net. Rousseau's got them all over the island.

SAWYER: How the hell would you know that?

KATE: I tripped one with Jack. We ended up—never mind. [Sawyer chuckles] What?

SAWYER: When the Doc told me you all got caught in a net I thought he meant, uh—something else.

KATE: Since when did you and Jack start talking about me?

[They hear some rustling in the bushes. A big bird swoops down over them and screeches. Michael tries to shoot, but his gun doesn't fire.]

HURLEY: Did that bird just say my name?

SAWYER: Yeah, it did. Right before it crapped gold.

[We see Michael looking at his gun to see if there's something wrong. Jack notices.]

JACK: Sorry, man. I guess I forgot to load that one. Want to give me the mag?

COMMERCIAL BREAK

[We see Charlie walking through the jungle. He comes across Locke who is crying.]

CHARLIE: John. [Locke pulls himself together and turns] What happened to your face?

LOCKE: Nothing, I'm fine.

CHARLIE: Hey, uh, if you're feeling a little sorry for yourself you may want to have a drink with your mate from the hatch. I hear he's a little despondent, as well.

LOCKE: What?

CHARLIE: Oh, that's right; you weren't there for the dramatic arrival at the funeral. I think he's pushed your button too many times, if you ask me.

LOCKE: Desmond?

CHARLIE: Yeah, Desmond. I'm sure you two have a lot to talk about.

[We see Sayid preparing an inflatable raft with supplies and a gun, to take the sailboat. Jin and Sun approach.]

SAYID: I'm sorry if what I said was confusing, but I asked Jin to come.

SUN: You need someone to translate. And you need at least two people who know how to sail.

SAYID: Desmond managed by himself.

SUN: And look where he ended up.

[We see Claire getting ready to give Aaron an injection.]

DESMOND [off camera at first]: You're wasting your time, sister. I shot myself with that stuff every 9 days for 3 years. [he looks at Aaron] He's lovely. Is the father here on the island?

CLAIRE: No. Nope, he's been gone a long time. Sort of walked off the moment he got a bit scared by the situation.

DESMOND: Well, maybe he knew he'd be a lousy dad—thought he was doing what was best for you.

CLAIRE: He was doing what was best for him.

[FLASHBACK]

[We see Desmond at the stadium getting ready to run. A car pulls up and Jack gets out and heads to the steps. Another car pulls up and a woman gets out.]

DESMOND: How did you find me?

PENELOPE: The landlord at your flat told me you ran here everyday.

DESMOND: How did you find me?

PENELOPE: I have a lot of money, Desmond. With enough money and determination you can find anyone. Did you read your beloved book—the one you were saving?

DESMOND: Not yet.

PENELOPE: I thought you might have read it while you were away.

DESMOND: I was in prison, not away.

PENELOPE: Why didn't you write to me?

DESMOND: When are you getting married, Pen?

PENELOPE: We haven't set a date yet.

DESMOND: I'll be back in a year.

PENELOPE: What if you were back, right now?

DESMOND: I'm going to win this race, Pen—his race. And in a year, I'll be back.

PENELOPE: Desmond, what are you running from?

DESMOND: I have to get my honor back, and that's what I'm running to.

[Back on the island, Locke approaches the still drinking Desmond on the beach.]

LOCKE: So what did one snowman say to other snowman?

DESMOND: Smells like carrots.

LOCKE: Hello, Desmond.

DESMOND: Hello yourself, box man.

LOCKE [reaching for the bottle]: Do you mind?

DESMOND: Oh, I insist. So you managed to fix the computer, then, did you?

LOCKE: World's still here, ain't it?

DESMOND: I'm not so sure about that, brother.

LOCKE: Refresh my memory, Desmond. How long did you say that you were down there in the hatch?

DESMOND: 3 years.

LOCKE: Desmond, what if I told you that for all that—all those years that you and all the men before you were down there pushing that button—what if I told you that it was all for nothing?

DESMOND: I'd ask you how the hell did you know something like that?

LOCKE: I found another hatch—another station on the island. They called it the Pearl, and I saw a film there—an orientation film. And it said that everything that was happening in our hatch wasn't real—that it was a test—a psychological experiment.

DESMOND: You're lying.

[Locke reaches in his pack and pulls out the Pearl video.]

LOCKE: You want to take a walk? I'll make the popcorn.

DESMOND: You're so sure it's not real, then just stop pushing the button!

LOCKE: Well, I have. Except, unfortunately, someone else decided to start. So you're going to sober up. We're going to get a good night's sleep. Tomorrow we're going to find out what happens if that button doesn't get pushed.

COMMERCIAL BREAK

[We see Hurley and Sawyer around a fire.]

SAWYER: Dharma nutri-bar?

HURLEY: No thanks; I'm not hungry.

SAWYER: You serious?

[Hurley gives him a dirty look.]

[We see Michael by himself, agonizing. Jack approaches.]

JACK: Hey, you alright?

MICHAEL: Yeah, just getting some more firewood. Not feeling too hot.

JACK: You shouldn't be out here alone. I'll give you a hand.

MICHAEL: Hey, thanks for coming out here—risking your neck for my boy.

JACK: Live together, die alone, man.

MICHAEL: Yeah.

[We see Sayid, Jin and Sun on the sailboat. Sun throws up over the side.]

JIN [subtitled]: I told you not to come.

SUN [subtitled]: It's not seasickness, Jin.

JIN [subtitled]: I know. There's something you should see.

[He points to the shore, and we see the foot and calf of one leg of what was once a giant statue.]

SAYID: I don't know what is more disquieting—the fact that the rest of the statue is missing, or that it has 4 toes?

[In the hatch, we see Eko carving another bible verse into his stick. The lights suddenly go out. Eko investigates and finds a fuse is missing from the fuse box. The loudspeaker starts counting down: 8, 7, 6. We see Eko and Desmond in the computer room. Desmond is rubbing two bare wires together causing the blast doors to come down and locking Eko outside the computer room. Eko jams his stick under the blast door just before it goes down, but Locke grabs it.]

EKO [banging on the door]: John!

LOCKE [to Desmond]: Neat trick.

EKO [banging]: John! John! Can you hear me? Open up.

DESMOND: Are you sure about this, brother?

LOCKE: I'm more sure about this than anything in my entire life.

EKO [banging]: John!

DESMOND: Alright then, box man. We wait.

[FLASHBACK]

[We see Desmond on the sailboat in a terrible storm. He goes below deck and wraps his Dickens book in plastic and puts in his coat. He goes back on deck, falls and is knocked out. Next we see him washed up on shore. We see a blurry, jumpy sequence of a man in a yellow environmental suit drag Desmond back to the hatch. We see that the man is Inman, the CIA operative from Sayid's flashbacks.]

INMAN: Are you him?

DESMOND: What?

INMAN: What did one snowman say to the other?

DESMOND: What are you talking about? Who are you?

INMAN: I'm Inman. Kelvin Inman.

DESMOND: What, what happened to my boat?

INMAN: I found you washed up on the beach. There was no boat.

[We hear the alarm start to sound. Inman enters the numbers.]

DESMOND: What was all that about, then?

INMAN: Just saving the world.

COMMERCIAL BREAK

[We see Desmond watching the Orientation Film.]

The Film: Not long after the experiments began, however, there was an incident. And since that time the following protocol has been observed: every 108 minutes the button must be pushed. From the moment the alarm sounds you will have 4 minutes to enter the code into the microcomputer processor.

[The film reel ends there, and Desmond takes it off the projector.]

INMAN [donning his environmental suit]: How many times are you going to watch that thing?

DESMOND: Why are there missing parts?

INMAN: Radzinsky made some edits.

DESMOND: Who's Radzinsky?

INMAN: He was my partner.

DESMOND: And what happened to him?

INMAN: Just make sure you put that back behind Turn of the Screw when you're done with it.

DESMOND: Why do you wear that suit?

INMAN: So I don't get infected out there. [he grabs an injector and vaccine] Give yourself a shot of this every 9 days. You were out there a while before I found you. Hope it's not too late.

[Back in the hatch, we hear Eko still banging on the blast door.]

EKO: John!

DESMOND: Who is he, box man—the man out there pounding on the door?

LOCKE: His name is Mr. Eko.

DESMOND: Why does Mr. Eko carry around a stick covered in scripture?

LOCKE: Because he's a priest.

EKO: Open the door, please. John! Can you here me? Open up.

DESMOND: We locked out a priest?

[We see Eko climb up out of the hatch door entrance. He sees the quarantine sign and runs toward the beach. We see Charlie playing guitar. Eko approaches.]

EKO: Charlie, do you know how they got the hatch door open?

CHARLIE: No, but if you hum it, I could probably play it.

EKO: How did they open it—the door that says "quarantine"?

CHARLIE: They blew it up, why?

EKO: Charlie, I need your help.

CHARLIE: Oh, now I'm back in your good graces, Father?

EKO: Charlie, John has locked me out of the hatch. And I believe he is doing this because he is going to stop pushing that button. And, Charlie, I am absolutely certain that if he is successful, in 90 minutes everyone on this island will die.

CHARLIE: Alright, I'm in. I'm in.

EKO: Thank you. Come, come quickly.

[We see Jack and company walking through the jungle.]

SAWYER: So, these Others, you think they're left over from the DHARMA folk?

MICHAEL: I don't know, man.

SAWYER: My theory, they're aliens. That's why they use the fake beards—their heads are made of pathetic.

HURLEY: Prosthetic, dude.

SAWYER: You can't even spell and now you're correcting me? What do you think, Freckles?

KATE: Just keep moving, we're being followed.

SAWYER: What?

KATE [stopping to pretend to tie her shoe]: Just keep smiling. There's at least two of them across the river. In about 5 seconds I'm going to turn the tables on them. [she pulls her gun out]

SAWYER: Wait a second.

KATE: You in?

[Kate and Sawyer starts shooting. Sawyer hits one and the other one runs.]

KATE: He's getting away!

[Jack and the rest rush to the guy Sawyer shot.]

KATE: He's dead. We have to find the other one.

JACK: No!

KATE: I'm going. Sawyer.

JACK: I said no!

SAWYER: Are you crazy? We let him go they'll know we're coming. He'll...

JACK: It doesn't matter if we catch him now. [Sawyer and Kate stare at him like he's crazy. Jack looks at Michael] They've already been warned.

SAWYER: What do you mean "warned"?

JACK: Why don't you tell them, Michael?

KATE: Jack.

MICHAEL: I don't know what you're talking about.

JACK: Stop lying! Tell them.

MICHAEL: Tell them what?

JACK [pushing Michael up against a tree]: I know what you're doing, Michael! Now tell them the truth. Tell them!

MICHAEL: It was the only way. They gave me a list.

JACK: What list?

MICHAEL: It had your names on it. I had to bring all 4 of you back, or they said I'd never see my son again!

JACK: Who are they?

MICHAEL: It's like I said—they live in a camp with huts. I swear, that's it.

KATE: You let Henry go?

[Michael nods.]

HURLEY: Did you kill them? Ana-Lucia and Libby? Did you?

MICHAEL: I had to, man. I, God, I couldn't find any other way. And Libby was a mistake. I, I didn't have time to think.

HURLEY: But if you did have time—you still would have killed her, right?

MICHAEL: I'm sorry. You understand—I am sorry. I'm sorry. I—my son!

HURLEY: I'm going back.

JACK: No, Hurley. Hurley, you can't!

HURLEY: We're all going to get killed and you knew it! You let us come anyway.

JACK: It's too late to go back now, Hurley. We already caught them following us once. If they don't believe that we trust Michael, they'll kill us all. I'm sorry that I didn't say anything. But you have to know that I would never bring you out here if I didn't have a plan.

SAWYER: What plan?

COMMERCIAL BREAK

[We see Sayid praying on the boat.]

SAYID: [Prays in Arabic.]

[Jin sees something on the shore.]

JIN: Sayid! Here.

[Sayid looks through the binoculars and sees the rock wall with the hole in it.]

SAYID: That's the rock Michael described. We're here.

[We see Charlie and Eko walking in the jungle.]

EKO: Hurry, please.

CHARLIE: Hurley showed me. It's around here somewhere. It's definitely around, uh...

EKO: We're running out of time, Charlie.

CHARLIE: Here it is! Told you. Careful. Careful. Dynamite is very unstable. You don't want to end up like Dr. Arzt.

[We see Charlie and Eko enter the hatch.]

CHARLIE: Careful. Eko, hey, Eko. Listen, what if we hurt them? Or blow up the computer?

EKO: You can leave now, Charlie.

CHARLIE: John, it's Charlie. Let's work this thing out, John. John! Eko is very upset, John. Just open this door and we can talk about it. John, you should know Eko is going to blow open the blast door.

LOCKE: Blow it open with what?

CHARLIE: With dynamite from the old ship in the jungle.

DESMOND: It would take an atom bomb, brother. Tell him not to bother.

LOCKE: You're sure it'll hold?

DESMOND: Aye, I'm sure.

[FLASHBACK]

[We see Desmond moving a cart under a blast door. Inman pours some detergent into a measuring cup and stirs it with a paint brush.]

DESMOND: Maybe you should do it?

INMAN: Come on, Des, you've seen me do it a hundred times.

[Desmond hits the bare wires together to make the blast doors come down. We hear the loudspeaker counting down: 6, 5, 4; and see the blast door come down on the cart, leaving a big enough space to crawl under.]

DESMOND: How do you even remember where you left off from?

INMAN: Slowly, Des. Very, very slowly. You should have seen Radzinsky do this. He had a photographic memory. I mean, this whole baby was his idea.

DESMOND: Yeah, right, Radzinsky. Radzinsky figured out how to fake a lockdown. Radzinsky created this great invisible map. More and more tales about your former partner. Yet for some reason, you never want to tell me what bloody well happened to him.

[Inman walks over to Desmond and points to a spot on the ceiling.]

INMAN: See that brown stain, there? That's Radzinsky. He put a shotgun in his mouth when I was asleep. The bitch of it was, I only had a 108 minutes to bury the poor bastard.

DESMOND: Well, if you don't want me to go crazy, next time let me go out.

INMAN: Well, you want to go out there with the quarantine and the hostiles?

DESMOND: I haven't been outside for 2 bloody years! Yes, I want to go. I was in the army for God's sake!

INMAN: Oh, right, Her Majesty's Army, correct? Tell me, Desmond, why'd you leave that nice old lady's army? Oh, I remember now. You got kicked out because you couldn't follow orders.

DESMOND: Why did you leave your army, Kelvin, huh?

INMAN: Because men followed my orders. Ah, but then thank God I joined the Dharma Initiative. Namaste, thank you, and good luck. [he laughs]

DESMOND: Please, Kelvin. Let me go out, huh? Just once.

INMAN: Sorry, Des. You stay here. You push the button. That's an order.

[Back at the hatch, we see Charlie banging on the blast door.]

CHARLIE: John! Seriously, you're about to be detonated.

[We see Eko rigging the dynamite.]

CHARLIE [to Eko]: Hey, what if John's right. What if it's just some colossal joke? You know, it's just some old computer connected to nothing? Maybe it's just a bunch of wire?

[Eko suddenly pounces on Charlie and shoves him up against a wall. He rips his belt off, and throws it at the magnet wall where it sticks.]

EKO: Is that a joke?

CHARLIE: I'll see myself out.

[Eko goes back to the dynamite. Charlie grabs his belt from the wall.]

EKO: John, this is your last time to end this. Open the door, and I will forgive you.

LOCKE: Forgive me for what?

[Eko gets ready to light the fuse.]

CHARLIE: Hey, hey, Eko. Wait. Just wait a second. I don't think it's a good idea, Eko. [Eko lights the fuse] We're in a very confined area.

[Eko pushes himself up against a wall. Charlie starts running.]

CHARLIE: Oh, bollocks.

[There's a huge explosion and a fire ball that chases Charlie to the end of the hall.]

COMMERCIAL BREAK

[FLASHBACK]

[We hear the alarm sound and see Desmond wake up.]

DESMOND: Kelvin! Hey, Kelvin.

[Desmond runs to the computer and enters the numbers. Desmond hears Kelvin singing and sees a bottle of booze on the floor. He opens a grate on the floor and finds Kelvin drunk under the hatch holding a key dangling from a chain.]

INMAN: I couldn't do it. I couldn't do it.

[Desmond makes his way over to Kelvin who is lying next to a small alcove. We see a lid has been opened to reveal a place to insert the key and a sign that says Caution: System Termination.]

DESMOND: What is this?

INMAN: This is the only other way out, partner.

DESMOND: What are you talking about?

INMAN: Failsafe. Turn this key and this all goes away.

DESMOND: What's behind that wall, Kelvin? Huh? What was the incident?

INMAN: Electromagnetism, geologically unique. The incident—there was a leak. So now the charge builds up and every time we push the button it discharges it before it gets too big.

DESMOND: Why make us do it—push the button? If we, if we can just...

INMAN [laughing and closing the lid]: Here's the real question, Desmundo—do you have the courage to take your finger out of the dam and blow the whole thing up, instead?

[Back in the hatch.]

DESMOND: I think your friends just blew themselves up, brother.

LOCKE: They're not my friends.

DESMOND: I can't hear anything. Maybe we should open it.

LOCKE: No, no; it's a trick.

DESMOND: A trick? They could be hurt? Is your doctor around?

LOCKE: Our doctor is God knows where. And he sure as hell doesn't care about anything happening down here.

DESMOND: Can I ask you a question, brother?

LOCKE: Absolutely.

DESMOND: Is the reason you're letting that clock there run all the way down to the very last tick—is it because you need to look down the barrel of a gun to find out what you really believe, John?

LOCKE: I looked down the barrel of the gun and I believed. I thought it was my destiny to get into this place. And someone died—a kid. Because he was stupid enough to believe that I knew what I was talking about. And the night that he died for nothing, I was sitting right up there, all alone, beating my hand bloody against that stupid door—screaming to the heavens asking what I should do. And then a light went on. I thought it was a sign. But it wasn't a sign. Probably just you going to the bathroom.

[Desmond has a look of recognition on his face, and turns away.]

[We see Sayid sneaking up to the Other's camp from the beach. He sneaks up to one of the shelters and looks inside but no one is there. No one is at the camp at all. He opens the door of the hatch, but there is just rock wall behind it.]

[We see Jack and company walking through the jungle. Kate sees something.]

KATE: Jack.

[They discover a huge pile of canisters, each with a notebook in it, piled on the ground. We see that the pneumatic tubing runs up out of the ground and has been spitting the canisters out in the middle of the jungle. Kate inspects them.]

HURLEY: What are they?

KATE: It's handwritten. It's all filled, the whole book. They're journal entries.

[Sawyer picks up a piece of paper from on top of the pile and finds Locke's map.]

KATE [reading from the notebook]: 0400: S.R. moves ping-pong table again. 0415: Takes a shower. What is this?

SAWYER [spotting something in the distance]: Hey, Doc, what did you say Sayid's signal's going to be when the coast is clear to hit that beach party?

[We see a column of black smoke.]

KATE: That means he found them, right?

JACK: That's miles from here. [to Michael] Where were you taking us?

MICHAEL: What?

JACK: Sayid said that he'd light the signal so that we could meet him at the shore. Why aren't we going to the beach?

MICHAEL: We are headed to the beach.

JACK: We're nowhere near the beach!

MICHAEL: Look, I had to.

JACK: What?!

[They hear whispers, then Sawyer gets hit in the neck with a dart and falls to the ground convulsing.]

KATE: Sawyer!

JACK: Run!!! Go, go.

[Kate and Jack start running. Hurley crouches and covers his head. Michael stands there.]

MICHAEL: Wait!

[Kate gets hit with a dart. Jack fires into the bushes and picks Kate up. He gets hit with a dart and falls. We see some Others come to collect them.]

COMMERCIAL BREAK

[We see Desmond and Locke in the hatch.]

DESMOND: Tell me about this other hatch you found—this Pearl.

LOCKE: What do you want to know?

DESMOND: Details.

LOCKE: The Pearl is a psychological station full of TV monitors. And two men sat in viewing chairs and filled notebooks with observations on what happens in here. And then they put the notebooks in pneumatic tubes and send them back to their headquarters so they could evaluate us—as an experiment. [Desmond looks concerned, confused] What?

DESMOND: What if you've got it backwards?

LOCKE: Backwards?

DESMOND: What if the experiment wasn't on the two men in here, but on the two men in there? I want to see that tape, John?

LOCKE: No, you can't. There's no way to see it down here.

DESMOND: Well, was there anything else in that station? Was there a computer?

LOCKE: Yeah.

DESMOND: So what did it do?!

LOCKE: Nothing! It didn't do anything. It printed out numbers. Lots and lots of numbers.

DESMOND: What printout, where is it?

LOCKE: Here, reading material for the next 19 minutes. Knock yourself out.

[FLASHBACK]

[We see Desmond shaving.]

INMAN: You've been shaving everyday for the last 3 years. You need to live a little, let go.

DESMOND: I'm never going to let go, brother.

INMAN [zipping his environmental suit]: Oh, that's the spirit. Bye, Des.

DESMOND: Goodbye?

INMAN: Yeah, goodbye. See you in a couple hours.

[Desmond notices a big tear in the leg of the environmental suit. He watches Inman leave, and put the gas mask on. He follows him outside and sees him take off the mask. We see Desmond following Inman along a rock shore. Suddenly Inman is gone. Desmond sees his sailboat in the water.]

INMAN [from behind Desmond]: Well, gosh, I didn't think you had the stones to come after me. I was a spook for 10 years, Des. I know when I'm being followed.

DESMOND: What are you doing with my boat?

INMAN: I'm fixing it.

DESMOND: You were leaving?

INMAN: Well, I mean, not yet. It's still about a week away. You wrecked it pretty good, Des. What do you think? Want to come with me?

DESMOND: Come where? What about the button?

INMAN: Screw the button, man. Who knows if it's even real?

DESMOND: That's not what you said when you were going on and on about dams and electromagnetics and failsafes!

INMAN: Well, I was drunk.

DESMOND: Why did you lie to me?

INMAN: I lied to you because I needed a sucker to save the world after I left.

DESMOND: You crazy old bastard! You stole my life!!

INMAN: Oh, come on.

DESMOND: What else did you lie to me about?! What else? Tell me?!

[Desmond has Inman by the collar and they fall to ground. Inman gets up and Desmond rushes him, falling on top of him. Inman hits his head.]

DESMOND: How could you do this to me? Get up.

[Desmond sees blood coming from the back of Inman's head and realizes he's dead.]

DESMOND: Oh my God. Oh my God.

[Desmond grabs the failsafe key from around Inman's neck and runs back to the hatch. He arrives to hear the loudspeaker repeating: System Failure over and over; the whole hatch is shaking. We see that the hieroglyphs on the timer are all locked in place. Desmond is frantically trying to enter the numbers, but the screen is filled with System Failure over and over again. We see everything metal in the hatch flying in the air toward the magnet wall area. Finally, Desmond somehow enters the numbers and the timer resets. The screen blanks and we see the >: caret.]

[Back in the hatch, Desmond is looking over the print out from the Pearl station.]

LOCKE: What are you doing?

DESMOND: When did you come here?

LOCKE: What?

DESMOND: The island—when did you come here? How long ago?

LOCKE: 60-65 days.

DESMOND: The date—what was the date?

LOCKE: September 22nd.

[We see numbers on the printout: 922044:16, followed by System Failure printed over and over.]

LOCKE: It was September 22nd.

DESMOND: I think I crashed your plane.

COMMERCIAL BREAK

[We see the Others leading Jack, Kate, Sawyer and Hurley down a long pier, making them kneel when they near the end. Michael is walking freely. Their hoods are taken off, and we see they are gagged.]

SAWYER [through the gag]: Son-of-bitch...

[Pickett knees him in the stomach.]

MR. FRIENDLY: Everybody just calm down.

KATE [through the gag, to Mr. Friendly]: It's fake. I know that your beard is fake.

MR. FRIENDLY: Sorry, missy, I didn't get you.

MS. KLUGH: She says she's knows your beard's fake, Tom.

MR. FRIENDLY [removing the beard]: Well, thanks for pointing that out, Kate. I can't tell you how much this thing itches. And thanks for telling them my name, Bea (or maybe B. or P.).

[We see the boat that we saw in Exodus arrive at the pier. Henry Gale gets out and is obviously the one in charge. He strides up to Jack.]

GALE: Hello again. [to Mr. Friendly] Where's your beard?

MR. FRIENDLY: I think they know.

GALE [to Michael]: Alight, let's take care of business, shall we?

[We see Charlie regaining consciousness in the hatch. The sound is muddy with a ringing tone to simulate Charlie's hearing loss from the blast. He gets up and finds Eko lying unconscious and bloody on the ground a little ways away.]

CHARLIE: Eko? Eko! It's Charlie. Wake up.

[We see Locke and Desmond in the computer room.]

DESMOND: We need to push the button.

LOCKE: No, we don't!

DESMOND: Do you not hear me, brother? I crashed your bloody plane?

LOCKE: How did you manage to do that?

DESMOND: On that day, those numbers turned to hieroglyphics. And when the last one came down this whole started to shake. And that screen? That screen filled up with "system failure," [pointing to the printout] System Failure. And I know what they are. 92204—September the 22nd, 2004, the day your planed crashed. It's real! It's all bloody real!! Now, push the damn button!!

LOCKE: I know what I saw! It's a lie; it's not real! None of it is real!

DESMOND: You don't want to push the button? Then I will.

LOCKE: No!

[Locke grabs the computer and smashes it on the floor. Desmond looks horrified. There's about 3 minutes on the timer.]

DESMOND: You killed us. You killed us all.

LOCKE: No. I just saved us all.

[Desmond opens the blast doors. And starts going through the bookcase.]

CHARLIE: Hey, Eko, wake up. [to Desmond] Hey, can I get some help? Can you help me?

DESMOND: I'm trying, brother.

[Desmond finds his copy of Our Mutual Friend.]

[FLASHBACK]

[We see Desmond in the hatch, holding a gun. He's finishes off a bottle of booze, and opens the Dickens book. A letter slips out. We hear a VO of Penelope reading the letter.]

PENELOPE: Dearest Des, I am writing this letter to you as you leave for prison. And I've hidden in the one place you would turn to in a moment of great desperation. I know you go away with the weight of what happened on your shoulders. And I know the only person who can ever take it off is you. Please don't give up, Des. Because all we really need to survive is one person who truly loves us. And you have her. I will wait for you. Always. I love you, Pen.

[Desmond sobs and throws the bottle.]

DESMOND: It's all gone. It's all gone!!

[He starts pulling all the books out of the bookshelf and throwing them. Suddenly, he hears banging and hears something which turns out to be Locke from the night Boone died.]

LOCKE [from outside]: I've done everything you wanted me to do? Why did you do this? Why?

[Desmond turns the light on in the hatch. He laughs.]

[Back in the hatch Desmond opens his Dickens book and finds the failsafe key. We see the timer at 29 seconds. Desmond rushes to open the grate and get to the failsafe.]

DESMOND: 3 days before you came down here, before we met, I heard a banging on the hatch door, shouting. But it was you, John, wasn't it? You said there isn't any purpose—there's no such thing as fate. But you saved my life, brother, so that I could save yours.

LOCKE: No, no, no, none of this is real! Nothing is going to happen. We're going to be okay.

[We see 5 seconds left on the timer.]

DESMOND: I've got to go. And you've got to get as far away from here as possible.

LOCKE: Go where? Stop!

DESMOND: I'm going to blow the dam, John. [the timer starts flipping to the hieroglyphs] I'm sorry for whatever happened that made you stop believing. But it's all real. Now I've got to go and make it all go away.

LOCKE: Wait, Desmond.

DESMOND: I'll see you in another life, brother.

[We see the last hieroglyph lock in place. The loudspeaker starts announcing System Failure over and over. Everything starts shaking. We see Charlie trying to help Eko.]

CHARLIE: Eko! Eko! Wake up. Can you move? Okay, come on.

[Knives and forks start flying toward the magnet wall, with Charlie and Eko in their path. Everything metal in the place starts flying toward the magnet wall. Charlie helps Eko walk. Desmond makes it to the failsafe mechanism.]

CHARLIE: Eko, on your feet.

EKO: Charlie.

CHARLIE: No.

[Eko pushes Charlie away and knocks him to the ground. Eko heads back toward the computer room. The washing machine comes barreling toward Charlie as he rolls out of the way.]

EKO: John!

LOCKE: I was wrong.

[We see Desmond cross himself and insert the key. We hear Penelope as a VO, reading again.]

PENELOPE: All we really need to survive is one person who truly loves us. And you have her. I will wait for you. Always. I love you.

DESMOND [turning the key]: I love you, Penny.

[The screen fades to white.]

[We see Gale and everyone on the pier. The ground shakes, there's a bright light and a strange sound, and everyone covers their ears. We see Sayid, Sun and Jin on the boat, covering their ears. We see the people on the beach reacting the same way. The light and sound fade. We see an object falling from the sky. Bernard moves Claire to safety, right before the hatch door with the quarantine stencil almost falls on them.]

COMMERCIAL BREAK

[We see people cleaning up the food "pantry" at the beach. Charlie arrives out of the jungle.]

BERNARD: Charlie, are you okay?

CHARLIE: It's hard to tell exactly. But, my ears, you know?

BERNARD: Where's Locke—Eko?

CHARLIE: They're not back yet?

[Charlie sees Claire and smiles.]

[We see Gale and Michael at the pier.]

GALE: I'm not happy about the arrangement that was made with you Michael, but we got more than we bargained for when Walt joined us, so I suppose this is what's best. And you let me go, set me free—you lived up to your word. We live up to our word, too. Do you know how to drive a boat?

MICHAEL: Yeah, I can drive a boat.

GALE: Good, then you're going to take this boat and follow a compass bearing of 325, and if you do that exactly, you and your son will find rescue.

MICHAEL: That's it? I follow the bearing and me and my son get rescued?

GALE: Yes.

MICHAEL: How do you know I won't tell people about where I was?

GALE: Maybe you will, maybe you won't. But it won't matter. Once you leave, you'll never be able to get back here. And my hunch is you won't say a word to anybody because if you do, people will find out what you did to get your son back.

MICHAEL: My friends—I was promised you wouldn't hurt them.

GALE: A deal's a deal.

MICHAEL: Who are you people?

GALE: We're the good guys, Michael. Alright, she's all yours.

MICHAEL: What? What, am I stupid? Where's my son?

GALE: Walt's inside.

[Michael runs to the boat.]

GALE: Bon voyage, Michael.

MICHAEL: Walt!

WALT: Dad! Dad!

MICHAEL: Come here, come here [they hug]. You okay?

WALT: Yeah.

MICHAEL: You sure? Okay, I've got you now. It's going to be okay now. We're going home, Walt. We are going home.

[Gale motions to Ms. Klugh and she removes Hurley's gag.]

MS. KLUGH: Hugo, you can go back to your camp.

HURLEY: What?

MS. KLUGH: Go back. Your job is to tell the rest of your people they can never come here.

HURLEY: But what about my friends?

GALE: Your friends are coming home with us.

MS. KLUGH: Go.

[Hurley looks to Jack who nods for him to leave. Michael takes off in the boat and the hoods are put back on Sawyer, Jack, and Kate.]

[We see Charlie and Claire sitting by a fire at the beach.]

CLAIRE: What happened out there, Charlie?

CHARLIE: You want to hear the part about me nearly being killed by the flaming fireball—or the flying fork?

CLAIRE: I want you to be serious.

CHARLIE: Nothing happened.

CLAIRE: Well, something happened. I mean that noise, and the sky turned that weird violet color.

CHARLIE: Did it?

[Claire turns away exasperated and Charlie smiles. Claire examines a wound on Charlie's arm.]

CHARLIE: Ow, ow.

[Claire kisses him.]

[The scene suddenly switches to a landscape of snowy peaks in blizzard conditions. The camera pulls back to reveal that it's a shot through a window. We see the inside of a fairly small shelter filled with equipment and laundry hanging from lines. One man is getting coffee while another man waits at a chess board.]

MAN #1 [subtitled from Portuguese]: I crush your defense and that is the last you shall see of your rook.

MAN #2 [subtitled]: All part of the plan, my friend.

MAN #1 [subtitled]: Ah. Then your plan must be to lose. Please. Your move.

[Man #2 looks over a piece of equipment. We can see a screen that says Electromagnetic Anomaly Detected.]

MAN #1 [subtitled]: What?

MAN #2: How long has it been doing that?

[Man #1 goes over to the equipment and hurriedly looks through a book.]

MAN #2: That's it, isn't it? We missed it again...

MAN #1: We didn't miss it!

[An alarm starts beeping and Man #1 goes to a computer screen.]

MAN #2: So it's not a false alarm this time?!

MAN #1: Just shut up and call!!

[We see a bedroom nightstand and hear the phone on it ringing.]

PENELOPE: Hello.

MAN #2: Ms. Widmore?

PENELOPE: Yes.

MAN #2: It's us. I think we found it.

[FLASHBACK (all the flashbacks in the episode are on-island)]

[We see 13 Days Ago written on the bottom of the screen.]

[We see Locke putting guns away in the armory. Michael enters.]

MICHAEL [whispering]: John, John, I was hoping I could borrow one of these guns.

LOCKE: Is it supposed to be a secret?

MICHAEL: Jack's asleep.

LOCKE [handing him a rifle]: More target practice?

MICHAEL: Well, you know, just want to stay sharp. [Michael looks at his watch]

LOCKE: You got a date?

MICHAEL: No. Old habits, you know.

LOCKE: Yes, I do.

MICHAEL: Thanks, man. Hey, can I just get a couple of these bullets? I promise I won't...

[Michael drops a box of bullets on the floor.]

MICHAEL: Damn! I'm sorry...

LOCKE: Naw, that's alright. I got it.

[Locke bends down to get the bullets and Michael knocks him out with the butt of the rifle. Michael runs to the computer and starts typing but nothing is displayed.]

MICHAEL: Come on. Where are you?

[Some random letters that Michael was typing appear and he backspaces over them. He starts typing again.]

MICHAEL [typing]: You okay?

MONITOR: ok, no time, come soon?

MICHAEL [typing]: I'm ready. Coming NOW. You said north -- north WHERE?

MONITOR: when they take me out. there's huge rocks with a big HOLE in the middle by the beach. you'll know when you see.

MICHAEL [typing]: It's gonna be okay. I'm coming.

MICHAEL [speaking]: I'm coming, Walt.

JACK [in the background, off camera]: Locke.

[Michael blanks out the screen and grabs the rifle.]

[Jack finds Locke lying unconscious in the armory.]

JACK: John.

MICHAEL [entering and cocking his gun]: Stay in there. Stay.

JACK: Michael, what are you...

MICHAEL: Stay in there, Jack!

JACK: Hey, whatever's going on...

MICHAEL: Look, I'm going after my son. I'm going after my son and nobody is going to stop me, okay. Okay, that is my right. That is a father's right.

[Michael closes the vault door.]

[Today]

[Outside the hatch we see Michael light a piece of paper on fire and watch it burn. Jack comes out of the hatch.]

JACK: Hey. What are you doing out here?

MICHAEL: Nothing. Just getting some air.

JACK: Come on. We should talk.

[We see Ana and Libby's bodies covered with blankets on makeshift stretchers. Hurley, Jack, Sawyer, Kate, and Michael are in the hatch.]

JACK: How many?

SAWYER: Rifles and pistols? 11 total.

JACK: That's it?

SAWYER: That's it. In case you forgot, they took 5 of 'em right off us.

JACK: How long would it take us to get to their camp?

MICHAEL: We leave now, move fast? Middle of the night tomorrow. Look, they have no idea I know where they are. They won't be expecting us. So we get the guns and we go. Right now. Just the 5 of us.

JACK: No, no, 5 is not enough. You said there's at least 20 of them. They've got our guns and we're not even sure if what you saw was...

MICHAEL: Hey, I know I saw! We take too many people, they'll hear us coming. I'm not taking a damn army across the island, Jack.

JACK: Michael, you sure you're in the best place to be making decisions for all of us right now?

MICHAEL: You got a son, Jack?

HURLEY [angry]: They're dead! Ana-Lucia and Libby are dead. I mean, we haven't even buried them yet.

JACK [to Hurley]: Me and you will take Libby, okay. -to Kate]: Can you?

KATE: Yeah, of course.

JACK: Sawyer, would you?

SAWYER: Yeah.

JACK [to Michael]: You should stay here. We'll bury them tonight, then we'll figure out what's next.

[They get the bodies and start to carry them out of the hatch. Michael stares at a pool of Libby's blood on the floor.]

COMMERCIAL BREAK

[13 Days Ago]

[We see Michael running through the jungle. He stops to check his compass and continues running. He comes across a man peeing.]

MICHAEL [shouldering his rifle]: Hey, put your hands up. Put 'em up! Don't move.

PICKETT: Relax buddy. I ain't movin'. Why don't you just put that down...

MICHAEL: Shut up!

PICKETT: You're Walt's old man, aren't you?

MICHAEL: What?

[Suddenly Mr. Friendly is right behind Michael and takes the rifle. Michael breaks away and runs firing a pistol behind him. Pickett fires a couple of shots after him.]

MR. FRIENDLY: What are you doing?! We need him.

[Mr. Friendly throws a slingshot type strap that wraps around Michael's feet, tripping him.]

MR. FRIENDLY: Bag him quick. His friends are right behind us.

[Today]

[We see Michael cleaning the blood from the floor of the hatch. Eko enters.]

EKO: Hello.

MICHAEL: I didn't hear you come in, man.

EKO: I left my shoes outside. They were muddy.

MICHAEL: Did you find him? Henry?

EKO: No.

MICHAEL: I hear you're a priest.

EKO: Yes.

MICHAEL: I guess you believe in hell, then.

EKO [helping Michael clean the blood]: For a brief time I served in a small parish in England. Every Sunday after Mass, I would see a young boy waiting in the back of the church. And then one day, the boy confessed to me that he had beaten his dog to death with a shovel. He said that the dog had bitten his baby sister on the cheek; and he needed to protect her. And he wanted to know whether he would go to hell for this. I told him that God would understand -- that he would be forgiven, as long as he was sorry. But the boy did not care about forgiveness. He was only afraid that if he did go to hell -- that dog would be there waiting for him.

[We see Michael walking through the jungle. He stops and throws up. Jack happens to walk by and see him.]

JACK: Hey, are you alright?

MICHAEL: Yeah.

JACK: I was coming back to check on you.

MICHAEL: Yeah, man. I had to get out of there. Just -- I have to get my son back.

JACK: We're going to help you do that, Michael.

MICHAEL: But, it's got to be the way I said, man. Just the 5 of us. Otherwise, it won't work. It won't work.

JACK: I promise. We're going to figure that out.

MICHAEL: No, I already have figured it out. It's got to be just the people who already know. You, me, Kate, Sawyer, Hurley. That's it. Anybody else -- look, it puts him in more danger. You don't get to decide this. It's my son. It's my call. And that's the way it has to be.

JACK: Then that's the way it'll be.

[We see Claire with Aaron at their tent. Charlie enters.]

CHARLIE: Hey. Hey, Aaron. Hey, big guy. Hi. Have you seen Eko?

CLAIRE: No.

CHARLIE: You know, we're building a church.

CLAIRE: Is there something you want, Charlie?

CHARLIE: Yeah, I found something on the pallet I thought you might need.

[He takes a small case out of his pack and opens it revealing an injection device and some vials.]

CLAIRE: Vaccine?

CHARLIE: I don't know what we need a vaccine for, but I figured if anyone should have it, you and the baby should. [she doesn't respond] It's alright. It's a pneumatic injector. You just put into your leg [he demonstrates] and it goes right in. Quite painless, really.

CLAIRE: You seem to know a lot about it.

CHARLIE: I tried it. I wanted to make sure it was safe before giving it to you and the baby.

CLAIRE: Well, how do you feel? I mean, did it do anything? What did it, what did it do?

CHARLIE: I feel fine. Anyway, it says you're supposed to give yourself a shot every 9 days. Alright? So, there's enough here for you and the baby for a while. That's it. I'll put it -- I'll put it... [he puts it down].

CLAIRE: Thank you.

CHARLIE: Welcome.

CLAIRE: I should really feed him.

CHARLIE: Yeah. Hey, Claire, did you think that maybe you and I could...

CLAIRE [seeing something over Charlie's shoulder]: Oh my God! Michael's back.

[We see Sun and Jin on the beach. Sun looks up and sees Michael approaching.]

SUN: Michael?

[Jin turns to see Michael and Jack approaching. He runs over and hugs him.]

JIN: [Speaks in Korean] Okay?

MICHAEL: Yeah, yeah. It's good to see you, too.

SUN [hugging him]: Are you alright?

MICHAEL: Yeah, I'm am. It's just -- I'm fine.

[Sun looks over and notices Kate and Hurley are digging graves.]

SUN: [Speaks in Korean] Who?

MICHAEL: Ana-Lucia and Libby.

JIN: [Speaks in Korean]

SUN: What happened to them?

MICHAEL: They were murdered.

COMMERCIAL BREAK

[13 Days Ago]

[We see Alex at a fire. Mr. Friendly brings Michael in and takes the hood off his head.]

MR. FRIENDLY: Hey there, Michael. [Michael spits in his face.] Not going to hold that against you. Fair's fair. I took your boy. But don't do that again, okay.

MICHAEL: Where is he you son-of-a-bitch?

PICKETT [entering with Kate in a hood]: Hey, look at what I found? She was following her friend about a half a click behind us.

MR. FRIENDLY [to Michael]: You make one sound you'll never see your boy again. [to Pickett] Gag him. Get ready with the torches. I'm going to talk to her people.

[We see Locke, Sawyer and Jack in the jungle with torches. It's an edited version of the same scene we saw in The Hunting Party episode.]

LOCKE: I think we'd better head back.

SAWYER: What?

JACK: Just find the trail, John.

LOCKE: I've lost the trail.

JACK: You don't just lose a trail! You just don't want to find him.

LOCKE: Yeah, that's right, Jack. I've been running through the jungle, toward the sounds of gunfire, because I don't care about Michael.

JACK: You know what happens if we just turn around and go back? We're never going to see him again. And that's going to be on us -- on you, and on me.

MR. FRIENDLY: You're exactly right, Jack.

[Locke, Jack and Sawyer all have their guns drawn on Mr. Friendly.]

JACK: Who are you?

SAWYER: He's the son-of-a-bitch that shot me on the raft. [Sawyer moves forward, looking like he's going to shoot.]

MR. FRIENDLY: Why don't you point the gun down?

[Sawyer is suddenly shot, the bullet apparently grazing his ear or neck.]

[We see Michael and Kate reacting to the gunshots.]

ALEX: It's okay. He's just delivering a message. He has to scare your friends to do it.

[Back to Jack and Mr. Friendly.]

JACK [smiling broadly]: I don't believe you.

MR. FRIENDLY: You don't believe what?

JACK: I think there's more of us than there are of you.

MR. FRIENDLY: That's an interesting theory. [suddenly yelling and raising his arms] Light 'em up!

[Torches are suddenly lit and the group is surrounded by people just out of sight.]

MR. FRIENDLY: Give me your weapons, turn around, go home.

JACK: No.

MR. FRIENDLY: I hoped it wouldn't come to this. [yelling] Bring her out, Alex!

[We see Alex looking hesitant.]

PICKETT: Go on.

ALEX: You.

PICKETT: Come on, Alex.

ALEX: Please?

PICKETT [to Kate]: Let's go. Up. [he exits with Kate]

ALEX: Is Claire okay? Did she have the baby? Is it okay? Is it a boy or a girl?

[Michael looks confused, but can't respond because he's gagged.]

[Back to Jack and Mr. Friendly.]

MR. FRIENDLY: Like I said -- curiosity. [He pulls the bag off Kate's head.]

[Jack, Sawyer and Locke throw their weapons down.]

SAWYER [to Mr. Friendly]: You and me ain't done, Zeke.

[Mr. Friendly grabs the guns and lets Kate go. The torches go out simultaneously and Mr. Friendly walks away and goes back to where Michael and Alex are.]

MR. FRIENDLY: His friends are going home. [He drops the guns on the ground] Divvy 'em up.

[Mr. Friendly looks at Alex, and she hesitates.]

ALEX [to Michael]: Sorry.

[She knocks him out with her gun.]

[Today]

[We see Michael on the beach with Vincent.]

[We see Jack and Sawyer getting the guns from Sawyer's tent. Sawyer pulls a bottle of booze out of his stash.]

SAWYER: What do you say, Doc? [Jack looks at the bottle and goes back to collecting the guns] Here I was thinking the Irish drink when somebody dies. [he takes a drink]

JACK: I'm not Irish.

SAWYER: Neither am I. So what happened out there in the jungle?

JACK: Exactly what he said happened -- he found their camp...

SAWYER: I ain't talking about Mike. You and Freckles -- before you found him you all were gone all night.

JACK: We were caught in a net.

SAWYER: What the hell is that supposed to mean?

JACK: It means we got caught in a net.

SAWYER: Is that what they're calling it these days?

[Jack exits the tent and we see Sayid approaching.]

SAYID: Is it true -- Henry's gone?

JACK: Yeah.

SAYID: Who's going after him?

JACK: Locke and Eko went out in the middle of the night, but...

SAWYER: But we haven't seen either of them since.

SAYID [noticing what they're carrying]: Those are the guns, aren't they? What are you doing with them?

SAWYER: What do you think we're doing? It's time to finish this.

SAYID: When do we leave?

SAWYER: In the morning.

JACK: You're not coming, Sayid.

SAYID: Excuse me?

JACK: Michael wants to keep it small. Me, Kate, Hurley, and him.

SAWYER: Yeah, well, him says even though Pippy Longstocking and the damn Grape Ape are ideal candidates for the Dirty Dozen -- I'm just going to say we might just want to bring the Red Beret.

JACK: It's Michael's call. He knows where we're going.

SAYID: It is not his call, Jack. It's ours.

SAWYER [handing Sayid a gun]: Welcome aboard.

[We see Eko walking in the hatch. He sees his cross pulling from his chest toward as he walks by the magnet area. We hear the alarm start to beep. Eko goes to the computer room and enters the numbers. Charlie enters.]

CHARLIE: So, you wake up in the middle of the night; you grab your Jesus stick; you race off into the jungle. You don't call; you don't write?

EKO: I'm sorry. I had work to do.

CHARLIE: Right, yeah.

EKO: Charlie, would you do me a favor? I was hoping you could bring my things from the beach here.

CHARLIE: What for? You moving in here? Fancy yourself a little bachelor pad?

EKO: Yes. I'm moving in here.

CHARLIE: Well, what about the church? You said we were supposed to be building it together, man.

EKO: I am supposed to do something different now.

CHARLIE: What am I supposed to do?

EKO: Bring me my things.

CHARLIE [exiting]: Bring your own things.

EKO: Charlie, please.

CHARLIE: You better leg it, mate. Clock's ticking.

[We see Michael putting supplies in his pack. Sawyer enters.]

SAWYER: Got some good news for you. Captain Arab's in too. Calvary rides at sunrise.

MICHAEL: You told Sayid?

SAWYER: Yeah, I told Sayid.

MICHAEL: You shouldn't have done that!

SAWYER: Oh, well I'm sorry. I just figure if we going to war, we'd want the one guy who's actually been in a war. That a problem?

MICHAEL: No, it's not a problem.

SAWYER [exiting]: Well, alright then.

COMMERCIAL BREAK

[11 Days Ago]

[We see a group of the Others leading Michael, whose arms are tied behind his back. He trips and Pickett pulls him up hard.]

PICKETT: Get up.

MICHAEL: Get off of me!

MR. FRIENDLY: You got a problem, Michael?

MICHAEL: You march me day and night without any rest. Yeah, my problem is I'm tired.

MR. FRIENDLY: Well, I'd offer to knock you out and carry you, but we're here.

[We see a large stone "wall" in the distance with a hole in it. Michael recognizes it as the landmark he was told to look for. They enter a camp with tent-like shelters and more Others, all dressed in raggedy clothes. We see two men with rifles standing guard in front of hatch doors. They pass people with fishing nets and we can see the ocean behind them.]

MR. FRIENDLY: Put him right over here. [to Alex] Tell her we're here.

PICKETT: I can't promise this won't hurt. [he jabs a needle in Michael's arm.]

MICHAEL: Ow, damn it!

PICKETT: Relax, just taking some blood.

MICHAEL: Taking some blood for what? Who are you people? Where's my son?

PICKETT: That's it; all done. See you in the funny pages. [he exits]

[A woman, Ms. Klugh, enters.]

MS. KLUGH: Hello, Michael.

MICHAEL: Where's my son?

MS. KLUGH: My name is Ms. Klugh. I was hoping you might help me answer some questions. About Walt.

MICHAEL: Where is he?

MS. KLUGH: Is he your biological son?

MICHAEL: What?

MS. KLUGH: Are you his father?

MICHAEL: Yes, I'm his...

MS. KLUGH: How old was he when he started speaking?

MICHAEL: I, he...

MS. KLUGH: Did he have any illnesses growing up? Headaches? Fainting spells?

MICHAEL: What? No! I don't -- I wasn't there. He was half way around the world. Why are you asking me all these questions?

MS. KLUGH: Did Walt ever appear in a place he wasn't supposed to be? You say he was half way around the world -- did you see him?

MICHAEL: I want my son! You bring him to me right now. I want to see my boy!

MS. KLUGH: For someone who wants his son back so badly, you don't seem to know much about him, Michael.

[Today]

[We see Sayid preparing his pack on the beach. Michael enters.]

MICHAEL: Hey, you're not coming.

SAYID: Welcome back, Michael.

MICHAEL: Look, I know Sawyer told you, alright. But, it's not going to work. You're not coming.

SAYID: And why is it that I'm not coming?

MICHAEL: Because you're going after the guy that escaped. And I'm going after my son.

SAYID: Are you implying I'd let a desire for revenge compromise Walt's safety?

MICHAEL: I'm implying that I decide who stays and who goes; and you stay. I know you want to help, right? But I've got to do this my way.

SAYID: Of course. Good luck, Michael.

[We see Charlie working on building the church, but he drops the pole he's trying to lift into place.]

CHARLIE: Bloody hell.

[He looks up to see Vincent running toward him carrying a Virgin Mary statue in his mouth which he then drops at Charlie's feet.]

CHARLIE: Are you kidding me? Did someone put you up to this?

[Vincent runs off and Charlie follows him to Sawyer's tent where he finds the rest of the statues.]

[We see Charlie at the shore, throwing the statues into the ocean. He looks around to see Locke is sitting on the beach nearby, watching him.]

[We see Jack walking in the hatch. He comes upon Eko at the computer.]

JACK: You were supposed to come right back. You were out in the jungle all night. What happened?

EKO: We were unable to find Henry's trail.

JACK: Yeah, I got that. Where's Locke?

EKO: I do not know.

JACK: We're burying Ana-Lucia and Libby at sunset.

EKO: Thank you. I will mourn them in my own way.

[We see Jack and Sawyer preparing the guns.]

SAWYER: Who's going to talk?

JACK: What?

SAWYER: The funeral. Who's going to talk?

JACK: I'm sure Hurley will want to say something about Libby.

SAWYER: I never even knew her last name. Ana-Lucia.

JACK: It's Cortez.

SAWYER: Cortez, there you go. I screwed her.

JACK: What?

SAWYER: That's how she got my gun. Ana, she jumped me. [Jack looks puzzled] We got caught in a net.

JACK: Why are you telling me this, Sawyer?

SAWYER: Because you're about the closest thing I've got to a friend, Doc. And because she's gone. Well, at least now we get to kill to somebody.

COMMERCIAL BREAK

[We see Hurley and Kate digging the graves. Michael approaches.]

MICHAEL: Jack fill you in on the plan?

KATE: What plan?

MICHAEL: We're leaving first thing tomorrow -- back across the island to their camp.

KATE: Okay.

MICHAEL [to Hurley]: What about you, man? You coming with us?

HURLEY: Why would I want to go?

MICHAEL: Because they killed her!

KATE: Michael, come on.

MICHAEL: What do you say, Hugo?

HURLEY: I'm sorry about Walt, dude. But I'm not coming.

MICHAEL: You're sorry...!

KATE: Michael.

[3 Day Ago]

[We see the Others' camp at night. Michael is being held inside one of the shelters. Ms. Klugh enters.]

MS. KLUGH: Dinner time.

MICHAEL: When are you going to do it?

MS. KLUGH: When am I going to do what?

MICHAEL: Kill me. I've seen where you live. I know how to get here. You have been asking me asking me questions I don't know the answer to for a week. I don't even think my son is alive.

MS. KLUGH: He is alive, Michael. He's standing outside right now.

MICHAEL: What, do you think I'm stupid?

MS. KLUGH: There's been a development since you came here, Michael. One of our people was captured by yours.

MICHAEL: So, go get him back.

MS. KLUGH: We can't do that. But you can. And if you do, we'll let you and Walt go free.

MICHAEL: I want to see my son.

MS. KLUGH: Michael...

MICHAEL: I want to see him! If he is out there you bring him in! You bring him in here right now!!

MS. KLUGH [calling out]: Pickett! [to Michael] You have 3 minutes.

[Pickett brings Walt inside.]

MICHAEL: Walt.

WALT: Dad.

MICHAEL: Let him go! Let him go! Get your hands off him, right now!

WALT: Dad, don't.

MICHAEL: Are you okay?

WALT: Yeah.

MICHAEL: I just -- did they hurt you?

WALT: They make me take tests.

MICHAEL: They make you what?!

MS. KLUGH: We're not going to talk about that.

WALT: How's Vincent?

MICHAEL: Vincent, he's great. He's great. He misses you. Hey don't, don't, don't be scared, man. Don't be scared. It's going to be over real soon, okay? I'm going to get you out of here, okay.

WALT: They're not who they say they are. They're pretending.

MS. KLUGH: Walt! You want me to put you in the room again?

MICHAEL: Pretending? Pretending what?

MS. KLUGH: That's it. We're done.

MICHAEL: No, wait. Hey wait, wait, wait. Come here, Walt. Wait, come here, Walt.

[Walt breaks away from Pickett and runs and hugs Michael.]

WALT: Dad, [a couple of unintelligible words]. Help me, please! Don't leave me!

MICHAEL: I won't, man. I'm going to take -- I'm going to get you out of here. I promise you, I will get you out of here.

[Pickett grabs Walt.]

WALT: Dad! Dad!

MICHAEL: Let him go! Walt wait! Let go of him!

WALT: I love you!

MICHAEL: Walt, I'm going to get you out of here!

WALT: I love you!

MICHAEL: Walt, I love you too, Walt!

WALT: Let me go! Let me go!

MICHAEL: I'm going to get you out of here.

[Walt is finally taken out, and Michael breaks down sobbing.]

MS. KLUGH: After you release our man, I'm going to need you to do something else.

MICHAEL: Whatever you want.

MS. KLUGH: I'm writing 4 names down -- 4 of your friends. We need you to bring them here. You have to bring only these 4 people, Michael. Just them. If you don't bring all the people on the list, you'll never see Walt again.

MICHAEL [still crying]: Okay, okay.

MS. KLUGH: Do you understand, Michael?

MICHAEL [still crying]: Yes. What do I tell them.

MS. KLUGH: Doesn't matter. Make up a story. They'll be angry enough to believe whatever you say.

[She hands him the list of names.]

MICHAEL: Who's James Ford?

MS. KLUGH: You know him as Sawyer. You know the rest of them?

MICHAEL: Yeah. I know them. If I do all this -- if I do what you say...

MS. KLUGH: You get your son back. You both go free.

MICHAEL: Then I want the boat.

COMMERCIAL BREAK

[We see people gathering at the beach for the funeral. We see Locke sitting on the beach nearby. He cuts loose the splint on his leg, shoulders his pack, and walks off in the other direction.]

[We see Jack and Sayid walking together toward the graves.]

JACK: When the plane crashed I was on my way to Los Angeles to bury my dad.

SAYID: I'm sorry to hear that.

JACK: Yeah. It seems like such a long time ago now. I was going to go right from the airport to the cemetery but I had no idea what I was going to say. Here we are again.

SAYID: I think Michael has been compromised. [Jack stops] Let's keep walking, Jack.

JACK: What do you mean "compromised"?

SAYID: His actions are not those of a man who is telling the truth.

JACK: Why would he lie to us?

SAYID: Because I believe a father would do anything for his son. Because I believe Michael may have freed Henry. And because I believe he is leading you into a trap.

JACK: You believe a lot, Sayid.

SAYID: I also believe that Henry was one of them.

JACK: Alright, let's go talk to him.

SAYID: No, he must continue to believe he's in control.

JACK: Why the hell would we want to do that?

SAYID: So we can create an advantage.

JACK: How?

SAYID: I don't know yet. But we have one more night to figure that out.

[We see everyone gathered around for the funeral service.]

JACK: Ana-Lucia Cortez was -- before we crashed she was a police officer. I don't think it was easy for her being here. But I think she did the best she could. She was a woman of few words, and I'm going to follow her example. Rest in peace, Ana.

HURLEY: Libby was -- she was -- she -- Libby was a psychologist, or psychiatrist -- one of those. Either way, she probably helped a lot of people. She helped me. She was my friend. It's not fair that this happened to her. It's not. [to Michael] I'm going with you. Goodbye, Libby.

[Claire picks Charlie's hand.]

[Sun sees something on the water.]

SUN: Boat. Boat!

[We see a sailboat coming in to shore.]

[We see Eko chopping wood, working on his church.]

ANA [off camera at first]: What are you building?

EKO: Hello, Ana.

ANA: Well, hello yourself. So, are you going to tell me? What is it?

EKO: I am building a church.

ANA: Now, why the hell would you want to do that?

EKO: Because I was told to.

ANA: Told to by who?

EKO: I was just told. I think it was in a dream.

ANA: A dream like this one?

[Suddenly blood appears on Ana's chest and the corner of her mouth.]

ANA: You need to help John.

[We see a series of very quick flashes of event's from Eko's life. Then we see Eko in the hatch still holding the axe. Yemi is sitting at the computer.]

EKO: Yemi?

YEMI: Hello, brother.

EKO: Forgive me. I should have listened to you. You were right. I didn't want to do it.

YEMI [shushing Eko]: The work being done in this place is important, Eko. It is more important than anything. And it is in danger. You must help John. He has lost his way. You must make him take you to the question mark.

[We hear the timer alarm start to sound. The timer starts flipping and shows black and red question marks flipping, instead of numbers. Yemi tries to enter the numbers but all the keys have questions marks on them.]

YEMI: John will not want to show you, so you must make him. [Eko turns to leave, but Yemi grabs his arm] Eko, there are many distractions, brother [we see equipment shaking like in an earthquake], but you must move past them. What is done is done. Do you understand?

EKO: Yes, Yemi.

YEMI: And, Eko, bring the axe.

[We see Eko wake up with a start, breathing hard. Charlie wakes up near him.]

CHARLIE: What's the matter? [Eko looks at his cross, but doesn't respond] You alright, mate?

[Eko gets his axe.]

EKO: I need to find John.

[We see Locke, Kate, Jack and Sawyer walking through the jungle at night.]

JACK: What were you thinking, John?

KATE: Jack, leave him alone.

SAWYER: No, Jack, don't leave him alone.

JACK: Shut it, Sawyer. If Ana hadn't lifted your gun we wouldn't...

SAWYER: Well, ain't that swell, Gimpy McCrutch over here covers up that the Artist Formally Known as Henry Gale tried to strangle your little amiga, and suddenly it's on me when she goes vigilante.

JACK: How about you go back to the beach?

KATE: Hey, enough -- both of you.

[Suddenly Michael stumbles out of the hatch door which the group has almost reached.]

JACK: Michael, hey.

MICHAEL: He shot me.

JACK: Who?

MICHAEL: He's gone. He ran out.

JACK [to the others]: Go, I got him.

MICHAEL: I was sleeping and I heard gunshots. I came out of the bedroom and there was this guy. He had a gun and...

JACK: Okay, come on, we've got to get you up.

EKO [appearing]: Let me help you.

[Sawyer, Kate and Locke enter the hatch, horrified to see Ana and Libby have been shot. Sawyer goes to Libby. Kate goes to Ana. Locke notices that Henry is gone. Eko, Jack and Michael enter.]

KATE: She's dead.

[Libby suddenly coughs blood all over Sawyer and cries out in pain. Michael looks on.]

JACK: Okay, we've got to get her up. We've got to get her to the back room, okay.

COMMERCIAL BREAK

[Eko places Ana's arms over her chest and crosses her, as Locke looks on]

EKO: Grant us this mercy, oh Lord. We beseech, Thee. Amen.

[Jack and Kate attend to Libby.]

JACK: She's in shock. Alright we've got to keep pressure on this.

KATE: Can you do anything? Jack?

JACK: I heard you. Keep pressure on her, okay. [he walks into the kitchen area]

MICHAEL: How is she?

JACK: I'm doing what I can. How long ago?

MICHAEL: What?

JACK: When did this happen? How long ago did he leave?

MICHAEL: I don't know. 20 minutes, maybe a half hour.

JACK: We can pick up the trail, catch up to him.

SAWYER: Man's got a head-start, a gun, and he ain't afraid to...

JACK: He shot 3 of our people! One of them is dead, one of them...

SAWYER: Who's going to take care of Libby while you're off playing Daniel Boone?

EKO: I will go. John, you have tracking experience, yes?

LOCKE: Yeah.

EKO: We will find his trail together.

JACK: You find anything -- anything -- you come right back here and we figure out what we're going to do next, together.

EKO: Let's go, John.

[FLASHBACK]

[We see Eko dressed as a priest in a confessional.]

EKO: How long has it been since your last confession?

CALDWELL: Oh, good question. Too many years for me to even remember.

EKO: What do you wish to ask God's forgiveness for? What sins have you committed?

CALDWELL: Let's see. Well, I slept with another woman besides my wife.

EKO: Just once, or many times?

CALDWELL: How many is many?

EKO: To receive God's forgiveness you must be penitent for your sins.

CALDWELL: Oh, I also forged ID papers for a guy pretending to be a priest.

[We see Eko and Caldwell outside the church.]

EKO: Do you have it?

[Caldwell hands Eko a fake Australian passport.]

CALDWELL: What'd you do, Padre? Skim from the collection plate? You know, I've got some friends in Los Angeles. I could get you on with them.

EKO: Doing what?

CALDWELL: You know, stuff.

MONSIGNOR [entering]: Good morning, Father Tunde.

EKO: Good morning, Monsignor. This is Mr. Caldwell. He has been helping me arrange my trip to the United States.

MONSIGNOR: I'm sorry Father, but I've got some bad news. You're going to have to postpone your trip. It appears we have a miracle.

[Scene switches to the Monsignor and Eko with a woman, Joyce.]

JOYCE: My daughter, she -- she drowned.

EKO: I'm very sorry for your loss.

JOYCE: Oh, no, you don't understand. She came back to life. We were out in the back blocks and Charlotte must have slipped; and she went into the river and she's not much of a swimmer. She was dead and the next day she woke up. Don't you understand? It's a miracle -- a confirmation of faith. Everyone needs to know about it. People need...

EKO: Where is your daughter?

JOYCE: At home with my husband.

EKO: What does he think?

JOYCE: The world needs to know about this. We need to tell the Vatican. We need to tell the world...

MONSIGNOR: I'm sorry; we can't just do that, Mrs. Malkin. The church needs to conduct an investigation before anyone can be told. Father Tunde will start this process, if you'll permit him.

EKO: Mrs. Malkin, will you excuse us for a moment, please.

JOYCE: Of course.

EKO: Monsignor, with all due respect, I cannot do what you have asked.

MONSIGNOR: Why not?

EKO: Because I do not believe what this woman says.

MONSIGNOR: Why do you think I chose you?

[Back on the island we see Eko and Locke walking through the jungle.]

LOCKE: Are you seeing something I'm not? [Locke stops] Hey! I haven't seen a single track or piece of sign since we left the hatch. What the hell are you following?

EKO: Where is the question mark?

LOCKE: The what?

EKO: The question mark, John. Where is it?

LOCKE: You know what, you keep chasing after your own shadow; I'm going back.

[Eko moves in front of him to stop him.]

EKO: I know you do not want to show me, but you must.

LOCKE: No, I don't have to show you anything.

EKO: Then I am sorry.

[Eko suddenly head-butts Locke who instantly collapses.]

COMMERCIAL BREAK

[We see Eko and Locke around a fire. Locke regains consciousness.]

LOCKE: You hit me. Why did you...?

EKO: Because you were being difficult.

LOCKE: Are you insane?

EKO: No.

LOCKE: Ana-Lucia, your friend, was just murdered and you...

EKO: Ana wants me to help you, John.

LOCKE: Help me do what?

EKO: Find the question mark.

LOCKE: You don't even know what you're talking about, do you?

EKO: No, but you know what I am talking about, John, and that is all that matters.

LOCKE [pulling the map out of his pocket]: Here, you want to find your damn question mark? Here, this is it right here. Here take it. Take it because it's nothing. It's a memory. It's 10 seconds of nothing.

EKO [pointing on the map]: This is your hatch, yes?

LOCKE: It's not my hatch.

EKO: If the Swan is where we came from then we go that way.

LOCKE: We shouldn't even be out here. Ana-Lucia would still be alive if I just told Jack that Henry attacked her.

EKO: Now, she wants us to go here, John, together. She said this in my dream.

LOCKE: Of course, a dream.

EKO: Tell me, John, haven't you ever followed a dream?

[FLASHBACK]

[We see Eko at Dr. Ian McVay's office.]

MCVAY: So, the Vatican's really interested in this one, eh?

EKO: That depends upon what I put in my report. Why don't you just start by telling me what happened that night?

MCVAY: Well, I got a call around 1am -- Ambrose brought this girl in, dead. She'd been in the water 2 hours.

EKO: Have you had much experience in this type of death?

MCVAY: Yeah, of course. I'm, I'm an undertaker. [Eko looks skeptical] Well, I mean, it's my day job. I mean, I'm perfectly qualified to be a coroner. I mean, I did go to medical school.

EKO: And when did you find out that she was -- not dead?

MCVAY: During the autopsy.

EKO: During the autopsy?

MCVAY: It's alright; I didn't expect you to believe me.

[McVay presses play on a tape recorder.]

MCVAY: I figured you'd want to have a listen for yourself.

MCVAY [on the tape]: This is a Caucasian female. She's 161 cm, 51.3 kilos. Body prepped and washed by the very lovely Valerie McDervish.

VALERIE [on the tape]: Ian, stop it.

MCVAY [on the tape]: Commencing with the post. This is a clear case of drowning. I'll begin with a thoracic...

[We hear screams, Oh God!, lots more screaming. McVay turns off the recorder and hands Eko the tape.]

MCVAY: Take it. No, please, I don't ever want to listen to that tape again.

[Back on the island we see Eko holding the map as he and Locke are walking through the jungle.]

LOCKE: You lost already?

EKO: Your map is inexact.

LOCKE: No kidding.

EKO: These landmarks -- is this a river?

LOCKE: No, it's a wavy line. I didn't draw it, I just transcribed it. I told you, I don't even know if it is a map.

EKO: Let's assume it is.

LOCKE: What's the axe for?

EKO: I don't know yet.

[Eko steps on something and we hear it break. The camera reveals that it's one of the Virgin Mary statues. They continue walking on and find themselves at the site of the burned out plane.]

EKO: You are the one that found this plane, yes?

LOCKE: Yeah. [looking up] It was up there.

EKO: And what made it fall?

LOCKE: Boone. Boone made it fall. Then he died. A sacrifice that the island demanded.

EKO: Excuse me?

LOCKE: Nothing. So, what's next?

EKO: We make camp. Get some sleep, and wait for further instruction.

[We see Jack and Kate, et al, back in the hatch.]

JACK: Where the hell are they?

KATE: Just calm down. Finding his trail in the dark is not going to be easy. They'll be back.

MICHAEL: She say anything? Libby?

JACK [shaking his head]: She's still unconscious. The bleeding stopped.

KATE: That's good, right?

JACK: No, it's not good.

MICHAEL: And there's nothing you can...

JACK: I can make her comfortable. [he looks at Sawyer] But I don't have what I need.

SAWYER: Why are you looking at me? I gave you all the damn meds 2 days ago...

JACK: The heroin, Sawyer.

SAWYER: Give me 20 minutes.

JACK: Kate's going to go with you.

SAWYER: It doesn't take 2 people to...

JACK: Kate is going with you.

KATE: What are you talking about? Why would he need me to go with him?

SAWYER: Jacko here knows his heroin's in my stash with the guns. So, I can either show you where it's at, or let poor Libby suffer. That pretty much it, Doc?

JACK: Yeah. Yeah, that's pretty much it.

SAWYER: Let's go, Freckles.

COMMERCIAL BREAK

[We see Kate and Sawyer heading for Sawyer's tent on the beach.]

KATE: I'm curious about something.

SAWYER: Yeah, what's that?

KATE: How did Ana-Lucia get your gun?

SAWYER: I don't know, she must've lifted it off me.

KATE: She pick-pocketed your gun? How'd she do that?

SAWYER: Well, if I knew how she did it, she wouldn't be able to do it, now would she? [he stops outside his tent] After you.

KATE: I thought you were taking me to your stash.

SAWYER: Do you have to make everything so damned difficult? Just go in.

[Sawyer lifts up a piece of wreckage and reveals his stash.]

KATE: You kept the guns here, all this time, right under you?

SAWYER: Fooled you, didn't I?

[He hands her a statue and they exit the tent. Hurley approaches.]

HURLEY: Hey guys, you seen Libby around?

[The camera pulls out to a long shot and Kate puts her arm on Hurley's shoulder, apparently telling him what happened.]

[We see Eko and Locke in the jungle. Eko is poking at the remains of the fire while Locke still sleeps.]

YEMI: Eko.

EKO [smiling]: Yemi.

YEMI [shushing him]: You'll wake John. Come, follow me.

EKO [limpingly follows]: Yemi.

[We see Yemi climbing up the cliff where the plane was perched. Eko follows.]

EKO: Yemi! Yemi.

[At the top Eko looks surprised. We see Yemi sitting in a wheelchair.]

YEMI: Wake up, John.

[We see Eko fall. Locke suddenly wakes up.]

EKO: Are you alright, John?

LOCKE: Yeah. Yeah, I'm fine.

EKO: You had a dream. [Locke nods] Was there a man? A priest? [Locke looks shocked/puzzled] The man that you saw was my brother.

LOCKE: Your brother?

EKO: This is why we needed to come together. This is how we are going to be led, and how we will know where to go next.

LOCKE: But I don't know where to go.

EKO: Did he tell you anything?

LOCKE: No, he, he...

EKO: Nothing? Anything?

LOCKE: It wasn't even me. It was you. It didn't -- he wanted me to follow him.

EKO: Follow him where? [Locke looks up the cliff] Wait here.

[Eko starts for the cliff.]

LOCKE: Eko, it was just a dream. It's not safe. Eko!

[FLASHBACK]

[We see Eko getting out of his car at a house where a young woman is sitting on the porch. Joyce Malkin comes out to greet him.]

JOYCE: Father, I'm afraid it's not a very good time. You'll have to come back later.

EKO: Mrs. Malkin, I must speak to your daughter. Yesterday in the church you said that...

JOYCE: I know what I said. It's just that right this minute is not a very good time.

[Richard Malkin comes out onto the porch.]

MALKIN: Get back in the house, Joyce. Get her inside.

JOYCE: Richard, please.

MALKIN: Inside, now!

[Joyce and Charlotte exit.]

MALKIN: I know why you're here, friend. But you can save yourself the trouble. What happened here was not a miracle.

EKO: The doctor that treated your daughter seems to feel differently.

MALKIN: Treated her? He tried to cut her open. He's just trying to cover up his own negligence. He tell you the whole story -- how she supposedly drowned? She fell into a mountain river, her body shut down; she went into hypothermia which made her appear dead.

EKO: And why is your wife so convinced otherwise?

MALKIN: Because she's a zealot. All of this -- everything she's doing -- is to spite me.

EKO: Why would she spite you?

MALKIN: Because she knows I'm a fraud. Because I make my living as a psychic. You see, that's what I do. I gather intelligence on people and I exploit it. Everyday I meet people looking for a miracle, desperate to find one. But there are none to be had. Not in this world, anyway.

EKO: I will report back to my Monsignor that there was no miracle here. Your daughter is alive. This is all that matters.

[As Eko is leaving he looks back and sees Charlotte looking out at him from a window.]

[Back on the island, we see Eko climbing up the cliff.]

LOCKE: Eko, be careful.

[Eko loses his grip and almost falls.]

LOCKE: Eko! Eko!

EKO: I'm fine.

[He gets to the top and surveys the landscape around him.]

LOCKE: Eko, what's up there? You see anything?

EKO: I don't see nothing.

[He looks down at Locke and sees a circle where not much is growing.]

COMMERCIAL BREAK

[We see Eko tasting some dirt in the circle area.]

EKO: It's salty.

LOCKE: What?

EKO: The earth. It's been salted so that nothing can grow.

LOCKE: Why would any want to salt -- there's nothing here.

EKO: I believe they made a circle -- a target -- so that this place can be seen from up above.

LOCKE: They? What place?

EKO: The place that this plane fell upon, John.

[Eko searches the ground near the plane. He brushes away dirt and uncovers something metallic.]

EKO: John! Will you help me with this?

[They push the plane out of the way and uncover a large set of doors. Locke tries to open the latches, but can't.]

EKO: Wait.

[Eko uses the axe to loosen the latches and he starts to open the doors.]

LOCKE: Eko, may I?

EKO: Please, be my guest.

[Eko and Locke lift the doors up together. They stare down into a shaft much like the shaft into the Swan hatch.]

[We see Jack break open a Virgin Mary statue while Kate and Sawyer look worriedly on. We see Michael watching it all.]

HURLEY [off camera at first, but sitting near Michael]: We were going to have our first date.

MICHAEL: Date?

HURLEY: Yeah, a picnic on the beach. I'm glad you're okay, man.

[We see Eko and Locke climbing down a ladder into the hatch. We see a DHARMA logo with only a white circle. Locke turns some lights on. They continue on and see a room with old TV monitors and a couple of large chairs. Locke turns on the TV monitors. Most of them remain black-screened. One shows static. One shows the inside of the Swan hatch kitchen/dining table area; Jack walks by . Locke turns on more lights. He finds a computer terminal which displays, "Printlog Y/N." Locke presses Y and Execute. Something starts printing. Meanwhile, Eko opens a closet and finds a stack of notebooks. We see the printout which shows lines of numbers and the word "accepted." Eko opens a dusty notebook, but there's nothing written in it. Locke finds a pneumatic tube and puts his map in it and watches it get sucked away. Eko finds an old style video tape.]

EKO: John.

[He shows it to John and we see that it's labeled "Orientation." Eko puts in a player.]

The Video:

Title Screen: The DHARMA Initiative/5 of 6/Orientation. Next we see a screen with the white circle DHARMA logo and under it is written: Orientation - Station 5 - The Pearl. As the film starts we see "Marvin Candle" minus the white lab coat. He's dressed in a turtleneck and sport coat, standing in the Pearl hatch.

Narration: Hello, I'm Dr. Mark Wickman, and this is the orientation film for Station 5 of DHARMA Initiative. Station 5, or the Pearl, is a monitoring station where the activities of participants in DHARMA Initiative projects can be observed and recorded -- not only for posterity, but for the ongoing refinement of the Initiative as a whole. As Karen DeGroot herself has written, "Careful observation in the only key to true and complete awareness." Your tour of duty will last 3 weeks and during this time you and your partner will observe a psychological experiment in progress. Your duty is to observe team members at another station on the island. These team members are not aware that they are under surveillance, or that they are the subjects of an experiment. Working in 8 hour shifts, you and your partner will record everything you observe in the notebooks we provided. What is the nature of the experiment, you might ask? What do these subjects believe they are accomplishing as they struggle to fulfill their tasks? You, as the observer, don't need to know. All you need to know is the subjects believe their job is of the utmost importance. Remember, everything that occurs, no matter how minute or seemingly unimportant, must be recorded. Each time a notebook is filled with the fruits of your diligent observation, roll it up [audio/video problem] containers provided. Then, simply place the container in the pneumatic tube, and presto, it will be transported directly to us. At the end of your 8 hour shift, proceed to the Pala ferry which will take you back to the barracks [audio/video problem] prepare for your next shift [/audio/video warp problem]. On behalf of the DeGroots, Alvar Hanso, and all of us here at the DHARMA Initiative, thank you. Namaste and good luck.

End Screen: The Hanso Foundation,/1980 All Rights Reserved.

EKO: Would you like to watch that again?

LOCKE: No. No, I've seen enough.

COMMERCIAL BREAK

[We see Eko gathering papers from a table.]

LOCKE: What are you doing?

EKO: I'm taking this back with us.

LOCKE: Why?

EKO: Because they may be important.

LOCKE: Important? I'm sorry, weren't you just watching the same thing I was?

EKO: Yes, John. And I believe the work you have been doing is more important now than ever.

LOCKE: What work?

EKO: Pushing the button.

LOCKE: That's not work. That's a joke -- rats in a maze with no cheese.

EKO: It is work, John. We are being tested.

LOCKE: Tested?

EKO: The reason to do it -- push the button -- is not because we are told to do so in a film.

LOCKE: Oh -- well, then what is the reason, Mr. Eko?

EKO: We do it because we believe we are meant to. Isn't that the reason you pushed it, John?

LOCKE: I was never meant to do anything. Every single second of my pathetic little life is as useless as that button! You think it's important? You think it's necessary? It's nothing. It's nothing. It's meaningless. And who are you to tell me that it's not?

[FLASHBACK]

[We see Eko at airport check-in in Australia.]

AGENT [handing him a board pass]: That's flight 815, leaving from gate 23.

EKO: Thank you.

[Eko turns to see Charlotte Malkin waiting for him.]

EKO: What are you doing here?

CHARLOTTE: I had to see you.

EKO: Look, your father said I shouldn't...

CHARLOTTE: I know. He doesn't want me talking to you. And I know you probably think I'm crazy, but I have a message for you and I promised to deliver it.

EKO: A message?

CHARLOTTE: He says you were a good priest.

EKO: Who says that?

CHARLOTTE: Yemi.

EKO [shocked]: Speaking about my brother is not a joke, so you should be very careful what you say next.

CHARLOTTE: I saw him when I was -- between places. He said that you would come and see me. He said that even though you were pretending, you're a good man.

EKO: Who put you up to this? Did your father tell you to do this?

CHARLOTTE: He wants you to know that he will see you soon. He said that even though you don't have faith in yourself, that he has faith in you.

EKO: Why are you doing this to me? What do you want from me? Why are you doing this to me?!

LIBBY [appearing]: Is everything alright?

[Charlotte nods and Libby keeps walking.]

CHARLOTTE: He has faith in you. One day you'll believe me. [she exits]

[Back on the island, we see Eko showing his cross to Locke.]

EKO: This cross was worn by my brother, Yemi. Yemi was a great man, a priest, a man of God. And because I betrayed him he was shot and died. He was placed on a plane which took off from an airstrip in Nigeria half a world from here. Then, the plane that I was on crashed on this island. And somehow, here, I found my brother again. I found him in the same plane that took off from Nigeria. In the same plane that lies above us now -- that has concealed this place. And I took this cross from around Yemi's neck and put it back on mine, just as it was on the day I first took another man's life. So let me ask you -- how can you say this is meaningless? I believe the work being done in the hatch is more important than anything. If you will not continue to push the button, John, I will.

[We see Jack injecting Libby with the heroin, as Hurley looks on.]

HURLEY: Can, can I talk to her?

JACK: Sure. [he exits]

HURLEY [trying not to cry]: Hey, it's Hurley. Hugo. I'm sorry I forgot the blankets. I'm sorry I forgot the blankets. [she opens her eyes] Libby?

[Libby struggles to say something. Jack enters.]

LIBBY: Michael.

JACK: Michael. He's okay. He made it, Libby. It's okay. It's alright.

[Libby gasps for air and dies. Jack closes her eyelids. Hurley cries. Kate cries and Sawyer comforts her. We hear the timer alarm start sounding. We see Eko and Locke walking through the jungle. We see Michael standing by himself in the armory. We see a close up of the prompt at the computer monitor.]

[We see Kate and Jack at Michael's side in the jungle.]

KATE: Michael, Michael. What's wrong with him? Michael. Michael? [Jack starts walking in the direction Michael came from] Jack, where are you going?

JACK: Maybe they just let him go?

KATE: Let him go? He's alone. They didn't just push him out into the jungle, Jack. He's alone!

JACK: Okay, let's go.

[Jack lifts Michael over his shoulder and starts carrying him back to camp.]

[We see Ana slicing up some fruit in the hatch. She looks over at Locke, who's snoring in the bed.]

[FLASHBACK]

[We see a police car parking lot. Ana and her partner pull in.]

PARTNER [exiting]: See ya, Ana-Lucia.

[Ana's mother, Captain Cortez, enters.]

CAPTAIN: You look tired.

ANA: Yeah, thanks. What?

CAPTAIN: Where were you last night?

ANA: Home.

CAPTAIN: All night?

ANA: Yeah, cooked myself some dinner, watched some TV.

CAPTAIN: What'd you watch? [Ana just looks at her] Let's go for a drive.

[We see Ana and Captain Cortez at the morgue looking at the body of the guy Ana shot in Collision.]

CAPTAIN: Remember Jason Alder? Found him in a parking lot just after 3 in the morning. He was dead an hour before anyone saw him. Crime scene pulled a gun from the dumpster -- registration was filed off, no prints, no witnesses. He was executed.

ANA: Any idea who did it?

CAPTAIN: Yeah, Ana, you did. This man confesses to shooting you in cold blood, and you refuse to ID him, so we had to cut him loose. A week later he shows up with 5 bullets in his chest because you shot him in cold blood.

ANA: Guess I should get a lawyer.

CAPTAIN: Look, we both know that this is going to be a dead-end investigation. But, Ana, if you did this -- if you did this -- you have to let me help you.

ANA: Yeah, thanks, mom; but I don't need your help.

CAPTAIN: You don't want my help; you're going to have to get it from somewhere else. You're a police officer, Ana. If you don't respect me, at least respect that.

ANA [handing over her badge]: Then I quit.

[Back on the island we see Ana enter the armory.]

ANA: Hey, Henry, what do you say? How long are you going to keep up this hunger strike, Henry? I ever tell you I was a cop? I've been around a lot of killers in my life. You know what surprises me most about them? How much they love to talk. But you're different, Henry. Hmm? Quiet.

GALE: [whispers something inaudible (possibly: You insult.)]

ANA: What was that?

GALE: [repeats the whisper twice.]

ANA [getting in Gale's face]: If you're going to say something; you're going to have to speak up.

[Gale suddenly stands and knocks Ana back. He grabs her and starts strangling her.]

GALE: You killed 2 of us -- good people who were leaving you alone. You're the killer, Ana-Lucia.

[Gale and Ana struggle, but he pins her. Just as it looks like she's done for, Locke hits Gale in the back of the head with his crutch.]

LOCKE: I guess he decided to start talking, huh?

COMMERCIAL BREAK

[FLASHBACK]

[We see Ana working at a security check-point at an airport. Next we see her at the airport bar.]

ANA: Hey, Mike, tequila-tonic.

CHRISTIAN: Long day, huh? [Ana doesn't respond] Good to see you again. You, uh, wanded me at security. [to the bartender] Another one, please. [to Ana] So, how does one get into wanding?

ANA: One stops being a cop.

CHRISTIAN: What a coincidence, I just stopped being a doctor.

ANA: Why'd you quit?

CHRISTIAN: I didn't. My son ratted me out for drinking on the job. [to bartender] Thank you. [to Ana] Lost my license. [Ana chuckles] Yeah, I know, it's hilarious.

ANA: No, no, it's just that I don't think parents and their kids should work together -- too many issues.

CHRISTIAN: I'll drink to that.

ANA: So, where you headed?

CHRISTIAN: Sydney. Sydney, Australia. You want to come? I'm serious.

ANA: Why would I go to Sydney with you?

CHRISTIAN: Maybe fate has just thrown the 2 of us together, you know. Two drinks in an airport bar --

ANA: Why would fate do that?

CHRISTIAN: Same reason fate does anything -- so that we can help each other out. You do need help, right? Unless you don't. What I'm doing down there could be a little dangerous and I need someone to protect me -- a bodyguard. It's perfect for someone who stopped being a cop.

ANA: I don't even know your name.

CHRISTIAN: Oh, let's not use real names. I'll tell you what -- why don't you pick a name for me and then I'll pick one for you.

ANA: You look like a Tom.

CHRISTIAN: Tom, what an excellent name. And you should be a -- Sarah. Australia.

[Back on the island we see Ana tending to a wound on her forehead. Libby enters.]

LIBBY: What happened?

ANA: I cut myself shaving. [Libby doesn't respond] The guy in the hatch tried to kill me.

LIBBY: You okay?

ANA: I'm fine; but he won't be.

LIBBY: Hey, Ana?

ANA: What?

LIBBY: Don't do anything stupid.

[We see Locke examining a blast door area in the ceiling of the hatch. Then we see him unlock the armory door.]

GALE: If you've come to apologize, I forgive for hitting me with your crutch. I'm so glad my head didn't break it.

LOCKE: Why?

GALE: Now that's a broad question.

LOCKE: Why'd you try to hurt Ana-Lucia, but not me?

GALE: I'm not sure I know what you're getting at, John.

LOCKE: I was trapped under that blast door, helpless. You could've crushed my skull, but you didn't do a thing. Why didn't you?

GALE: Because you're one of the good ones, John.

LOCKE: What? Good what?

GALE: None of this matters. I'm dead anyway. The doctor's gone to make a trade and we both know he'll come back empty-handed and then I've lost my value. So either Jack comes back here and kills me or my people find out where I'm being held and they do it.

LOCKE: Why would your own people want to kill you?

GALE: Because the man in charge -- he's a great man, John, a brilliant man -- but he's not a forgiving man. He'll kill me because I failed, John. I failed my mission.

LOCKE: What mission?

GALE: When that woman caught me in her trap I was on my way here, John. I was coming for you.

KATE [in the background]: Locke!

JACK: Locke, get out here. Locke! Locke!

KATE: John!

[Locke leaves and locks Henry in the armory.]

COMMERCIAL BREAK

[We see Sawyer using a pole to get mangos from a tree. Ana enters and picks some up.]

SAWYER: Hey, I've been knocking those things down for 20 minutes. Get your hands off of my damn mangos.

ANA: I didn't figure you for the fruit picking type.

SAWYER: What do you want?

ANA: I need a gun.

SAWYER: Well, here's an idea -- why not go to your buddy, Jack? He's got himself a gun. Oh, that's right, he's still traipsing around the jungle with Kate.

ANA: If you've got a problem because he's making time with your girlfriend, don't take it out on me, man. How about you just give me a gun?

SAWYER: Here's another idea -- scram. You heard me, now get.

[FLASHBACK]

[We see Ana get out of a hotel room bed in Sydney. She grabs a drink and there's a knock on the door.]

CHRISTIAN: Sarah. Sarah, open the damn door. [she opens the door] Good, you're up. It's time -- protection duty. Come on, let's go.

ANA: After 4 days of drinking and doing nothing -- now, in the middle of the night, you're ready to go?

CHRISTIAN: That's exactly right. It's time, come on. Fate's calling, Sarah.

[We see Ana and Christian driving in the rain, then pull up in front of a house.]

CHRISTIAN: This is it, pull over right here.

ANA: This is what you needed protection for -- the suburbs?

CHRISTIAN: Stay in the car.

ANA: Should I keep the meter running?

[Christian knocks on the door as Ana waits in the car watching.]

CHRISTIAN [faintly, under a Patsy Cline song]: I just want to see my daughter. [then yelling] She's my daughter and I have every right to see her.

LINDSEY: No, you don't have a right. Now get out.

[She tries to close the door, but Christian tries to bust his way in. Ana runs over.]

CHRISTIAN: I pay the mortgage on this house... I want to see my daughter.

[Ana pulls Christian back.]

ANA: What the hell is wrong with you?

LINDSEY: Don't you ever come back here.

[Ana pulls Christian to the car.]

CHRISTIAN: I was just having a conversation with the lady.

LINDSEY: You need help!

[Back on the island, Hurley approaches Sayid who's digging near the tents.]

HURLEY: Dude, nice hole.

SAYID: What is it, Hurley?

HURLEY: Hey, man, remember that radio we made? I'm thinking maybe I could get it to play some music. You know, for Libby.

SAYID: Well, it worked only once and then just for a minute. I've tried several times since and only gotten static.

HURLEY: Here's the thing -- even that would be good -- because then Libby would be like, "it's the thought that counts" -- and I'll score major points. Especially when she sees me holding it over my head.

SAYID: And why would you hold a static generating radio over your head?

HURLEY: They didn't have Say Anything in Baghdad? It's awesome. This dude, like, gets his boom box and he holds it over his head outside this chick's window and he plays some Peter Gabriel song for her and bam, the girl's, like, his. I mean, after her dad goes to jail. But then he gets her.

SAYID: I think I get the idea.

HURLEY: You should really check it out sometime. I mean, if we ever, you know, get off this island.

SAYID: If you want to do something nice for Libby, there's a beautiful beach 3 kilometers from here. You could take her there.

HURLEY: You think she'd like that?

SAYID: I took Shannon there once.

[We see Jack examining a still unconscious Michael.]

JACK: Michael. Michael.

LOCKE [entering]: So, it worked?

JACK: What are you talking about, John?

LOCKE: Your deal -- the trade. If they gave us Michael...

JACK: They didn't give us anything.

LOCKE: So, it was just a coincidence that he came wandering out?

JACK: I was shouting; he heard my voice. What, they just let Michael go hoping we would keep up our end of the bargain? You think they're on the honor system?

KATE [entering]: Hey.

JACK: Hey.

[We see Sawyer walking through the jungle. He hears rustling and stops.]

SAWYER: Come out, come out whoever you are. I know you're there. [he draws his gun] Don't make me come in after you. [Ana clears her throat] Well, well, well, what have we got here? Was little red riding hood going to follow the big bad wolf back to his big old stash-o-guns?

ANA: Why don't you give me that one, right there?

SAWYER: I ain't going to give me you nothing. [she approaches threateningly] We've been through this, Lucy.

[She takes a swing and he deflects her, laughing. She takes him down and he gets on top of her.]

SAWYER: What you gonna do now, Muchacha?

[Ana kisses him and they start pulling off each other's clothes. The camera pulls to a shot of the gun with Sawyer's discarded shirt.]

COMMERCIAL BREAK

[FLASHBACK]

[Morning, we see Ana and Christian in the car near a wharf.]

CHRISTIAN [reaching for the radio]: We need some damn music in here.

ANA: Who is she?

CHRISTIAN: Who is who?

ANA: That woman.

CHRISTIAN: She is a very long story, Sarah.

ANA: It's Ana-Lucia.

CHRISTIAN: Well, I'm still Tom.

ANA: You're pathetic, that's what you are.

CHRISTIAN: You bet your sweet ass I am.

ANA [stopping the car]: Why are you here?

CHRISTIAN: I'm here because I can't apologize to my son. He tried to help me, so I thanked him by cutting him off. I thanked him by hating him. You came here for the same reason I did, kiddo. You ran away. [Christian notices a bar in the background] My, my, look what fate has delivered up this time. Come on, let's go have a drink or 10 and be pathetic together. What do you say?

ANA: No. No.

CHRISTIAN: It's your call. [he opens his car door and hits Sawyer]

SAWYER: Hey, I'm walking here.

ANA: Wait, don't. Let's just get the hell out of Sydney. Let's just go. Let's go back.

CHRISTIAN: I can't ever go back. See ya, kiddo.

[Back on the island, we see Ana putting her shirt on as Sawyer watches.]

ANA: What?

SAWYER: Don't you want my phone number?

ANA: You tell anyone about this and I'll kill you. [she exits]

SAWYER: I guess that takes cuddling off the table.

[We see Hurley putting food from the beach pantry into his pack.]

LIBBY [appearing]: Hey there. How's it going?

HURLEY: This isn't what it looks like.

LIBBY: And, what does it look like?

HURLEY: It looks like something that it's not. Aw, man. I'm so busted.

LIBBY: Hurley, I'm not here to tell you how to act around food.

HURLEY: Naw, I'm not busted for that. I'm busted for something else. I was packing a picnic because I was kind of hoping that you'd want to go with me. You know, as an 'us' thing. But, it was a surprise.

LIBBY: Really? That's very sweet.

HURLEY: So, you want to go?

LIBBY: Where to?

HURLEY: Can that part still be a surprise?

[In the hatch, we see Jack cleaning some scissors. Locke is reading in the background. Ana enters.]

ANA: Hey, you're back.

JACK: Hey.

ANA: So, the Others -- they didn't show up?

JACK: No. Michael's back, though. [noticing the cut on Ana's forehead] What happened here?

LOCKE: My fault. I left the tap on in the bathroom sink and Ana wiped out and hit her head on the bathroom counter. And I'm sorry, again.

ANA: Yeah, don't worry about it.

KATE [off camera at first]: Jack? Jack. I think he's waking up.

JACK: Hey, Michael.

MICHAEL: Jack?

JACK: Hey, man.

MICHAEL: Wait a minute... how did I get...?

JACK: Wait, try to take it easy, okay. You're back in the hatch. We found you out in the jungle last night.

MICHAEL: Oh, my head.

LOCKE: Welcome back.

MICHAEL: Hey, John. I found them. After I left I hiked North back to where we were [he looks at Ana]. I hiked to the beach -- followed the shore line. A day later I saw one.

LOCKE: What did he look like?

MICHAEL: Dirty, worn clothing, no shoes, simple. Just like the rest of them.

JACK: Like the rest of them?

MICHAEL: Yeah, his people -- the Others. I followed him back to his camp. They live in tents -- canvas tents and teepees. They eat dried fish. They're worse off than we are.

KATE: How many of them were there?

MICHAEL: I counted 22.

JACK: And, the boat?

MICHAEL: I didn't see it.

JACK: Did you see Walt?

MICHAEL: No. But I know he's there.

ANA: What about everyone else they took? Cindy -- did you see any other kids?

MICHAEL: No, no, no kids, no. But I think they were in the same place as my boy. They have a hatch.

JACK: How do you know that they...

MICHAEL: There's a set of metal doors leading underground. What else could it be?

JACK: And you think that's where they're keeping the kids?

MICHAEL: They keep it guarded 24/7. 2 guards, 2 guns. And 2 guns is all I saw. They're barely armed. Most of them are old and half of them are women. I wanted -- I couldn't save him. So I came back to tell you -- tell you that we can take them. As soon as I get my strength back, I will take us back there. And we are going to get my boy back.

COMMERCIAL BREAK

[We see Locke writing in the computer room. Jack enters.]

JACK: You were right.

LOCKE: Right about what?

JACK: About Henry -- what you and Sayid did to him when you first found him. You were right. I don't like how you did it, but I shouldn't have gotten in your way.

LOCKE: Well, you did what you thought was right at the time you thought it, Jack. I just hope that next time you decide to do something you include me. And something tells me that's going to be soon.

JACK: You heard Michael. We can take them.

LOCKE: Our friend with the beard told us not to cross the line.

JACK: These people are liars, John. Why should we take their word on anything?

LOCKE: I couldn't agree more. So, now what?

[Jack and Locke enter the living area and start getting a pack together.]

KATE: Where are you going?

LOCKE: To get our guns back from Sawyer.

JACK: We're going to need you to help convince him.

KATE: Who's going to take care of Michael?

ANA: I'll stay. You guys go ahead.

JACK: You sure?

ANA: Give Sawyer my best.

JACK: Alright, we'll be back soon.

[We see Hurley and Libby walking through the jungle.]

HURLEY: Watch your head. Almost there.

LIBBY: You ever watch the Flintstones?

HURLEY: Sure, I used to watch it all the time when I was in the hospital -- when I broke my hip.

LIBBY: Well, did you ever notice how Fred would run by the same thing over and over again? [she stops and points] Third time past this tree.

HURLEY: Uh, that's a different tree.

LIBBY: Hurley, it's okay if you're lost.

HURLEY: Dude, I'm not lost. Will you trust me? [Hurley starts walking again] We're right about to walk on the most excellent secret beach on the island, and -- surprise!

LIBBY: Uh, Hurley, this is our beach. There's Jin. Hey, I'll tell you what -- why not have the picnic here? Come on, give me the blankets.

HURLEY: Blankets?

LIBBY: You don't have any blankets? How about drinks? [Hurley doesn't respond] Okay, I'll tell you what, I will handle the blankets. You just track down Rose and Bernard. I saw them pull wine from the pallet, okay?

HURLEY: Oh, wine. Groovy. Hey, maybe if I get drunk enough I'll remember where I know you from.

LIBBY: Yeah, okay. [she exits]

[Jin gives Hurley a thumbs up.]

[We see Sawyer reading the Bad Twin manuscript. Jack, Locke and Kate enter.]

JACK: Sawyer, put the book down.

SAWYER: It's not a book, it's a manuscript. I'm about to be the first and only guy to find out who done it. I think I've got it figured out. Cool your damn jets and walk around the coconut trees; I've got, like, 10 pages left.

[Jack grabs the manuscript and drops the last 10 pages into the fire near Sawyer.]

SAWYER: Hey!

JACK: You want to figure it out?

[Sawyer pulls the manuscript out of the fire.]

SAWYER: What is your problem, Doc?!

JACK: It's time to give us the guns back.

SAWYER: You burn the ending of my book and now you want...

LOCKE: Where are they, James?

SAWYER: You too, Brutus?

KATE: Just take us there, Sawyer, alright? Quit playing around.

SAWYER [to Jack]: What, did you bring her along for a sympathy vote? She ain't in my head, Doc. [to Kate] Why don't you two just go play in the jungle, huh?

JACK [drawing his gun]: Take us to the guns, now.

[Sawyer reaches behind to draw his gun and realizes it's not there.]

SAWYER: Ah, that bitch. She stole my damn gun -- Ana-Lucia.

JACK: Why would she need a gun?

SAWYER: Son of a bitch.

[We see Ana in the hatch pulling the gun out of her boot.]

LOCKE: Jack, I need to tell you something.

[We see Ana open the armory door. She slides the swiss army knife to Gale.]

ANA: Pick it up. Cut yourself loose.

GALE: What?

ANA: Just do it.

GALE: Why?

ANA: You know why.

[Gale cuts himself free.]

GALE: He kept saying you were misunderstood.

ANA: What are you talking about?

GALE: Goodwin. Yes, he told us all about you, Ana -- how he thought you were worthy, and that he could change you. But he was wrong. And it cost him his life.

ANA: He was going to kill me.

GALE: Was he?

ANA: Are you done?

GALE: Yes, Ana, I'm done.

[Ana draws her gun and points it at Gale's head.]

GALE: So, this is it, huh?

ANA: Yes, Henry. This is it.

COMMERCIAL BREAK

[FLASHBACK]

[We see Jack in the airport in Sydney arguing with the counter agent about his father's body.]

JACK: I want you to listen to me, okay, because I'm asking you a favor, Crissy. I'm standing in front of you in the same suit that I'm wearing to my father's funeral. And I'm asking you a favor. [we see Ana in line behind him] In 16 hours I need to land at LAX, and I need that coffin to clear customs because there's going to be a hearse waiting there [we see Jin standing in line behind him], and I need that hearse to take me and that coffin to a cemetery. Crissy, why can't I just bring him to a funeral home and make all the arrangements? Why can't I really take my time with it? Because -- because I need it to be done. I need it to be over. I just -- I need to bury my father.

[We see Ana dial a number on her cell.]

ANA [on her cell]: That was an airplane. No, I'm not at work. I'm in Sydney. That's right, Australia. I -- I don't know, I -- I made a mistake, mom. You knew, so I got as far away from you as I could. But now -- I want to come home, mom.

CAPTAIN: So come home.

ANA: I'm on Oceanic flight 815.

CAPTAIN: I'll be there when you land, m'hija.

[Back on the island we see Ana playing with her gun in the hatch. Michael enters.]

MICHAEL: Where is everybody?

ANA: What you said got them worked up. They went to get all the guns back from Sawyer.

MICHAEL: Sawyer? Sawyer has all the guns?

ANA: Long story.

MICHAEL: At least he didn't get that one.

ANA: Yeah. Too bad I can't use it.

MICHAEL: Use it on what?

ANA: We caught one of them -- the Others. He's locked up in there.

MICHAEL: How long has he...?

ANA: Over a week.

MICHAEL: And you're what -- taking care of him?

ANA: He tried to kill me today, so I wanted him dead. I couldn't do it. I couldn't even kill him. I looked at him and he -- I can't do this anymore.

MICHAEL: Then let me do it. They're animals. I've seen these people and they are animals. They took my son -- right out of my hands -- they took my son and -- I'll do it. Give me the gun. I'll kill him. Because that's what they do. [Ana hands him the gun] What's the combination?

ANA: 18 right, 1 left, 31 right.

[Michael looks at the gun for a long time.]

MICHAEL: I'm sorry.

ANA: For what?

[Michael turns and shoots Ana.]

LIBBY [appearing]: Michael?!

[Michael, surprised, turns and shoots her twice. He opens the armory door. He and Gale stare at each other for a long moment. Michael shoots himself in the arm.]

[The scene opens on Rose and Bernard storing some Dharma food on a shelf at the beach.]

ROSE: Cereal goes on the left, Bernard.

BERNARD: So this isn't bothering you at all?

ROSE: What's "this"?

BERNARD [holding a can of food]: Well, this [grabbing a bag of chips] this...

ROSE: Why would a bag of potato chips bother me?

BERNARD: Aren't you remotely curious as to where all this came from? You're acting like we just got back from the supermarket.

ROSE: Well, I guess I was raised never to question my blessings.

BERNARD: I was raised to question piles of food with weird labels that just fall out of the sky, Rose.

ROSE: Well, honey just because you're having a bad day doesn't mean you have to raise your voice.

BERNARD: Bad day? I had 7 weeks of bad days on the other side of the island just trying to stay alive so I could get back to you. Here -- my God, Rose -- they've built a kitchen on the beach. They've given up.

ROSE: Given up? On what?

BERNARD: On getting rescued.

[In the hatch, we see the timer at 2:00 minutes. Locke is sitting at the computer trying to sketch out the diagram from the blast door. He gets frustrated and scratches out what he's drawn. We see the timer at 1:34 then at 1:00. The alarm starts sounding more insistently. Locke closes his eyes and appears to fall asleep for a second.]

JACK [entering]: Hey, you going to get that?

[Locke enters the numbers and presses the button somewhat reluctantly.]

[We see Jack going toward the armory.]

JACK [to Ana]: When's the last time you went in to see him?

ANA: A couple of hours ago. He was sleeping.

JACK: Did he eat?

ANA: No. It's 2 days now. No food. No water. Nothing to say.

JACK: I don't know about you but I'm tired of waiting.

[Jack goes into the armory.]

JACK [to Gale]: I hear you've lost your appetite. [Gale doesn't respond] Okay, don't talk. I was never that good at bedside manner anyway. I'm going to change that dressing on your shoulder. If you try anything, we've got a problem. [Jack starts changing the dressing] So, Henry [Jack pauses] -- Henry. I was thinking about something you were saying before we found out who you are. This is going to sting. [he applies some disinfectant to the wound and Gale flinches] Yeah, you were saying that if you were one of them that you'd lead us into a trap, capture our people, force a trade -- us for you. Pretty good idea, Henry. And, since you are one of them, I thought now might be a good time to use it. I'm going out to the line we're not supposed to cross and telling them that we've got you. And if they want you back, it's going to cost them. And when we get Walt back you might just have been worth all the trouble.

[Gale makes an exhaling sound.]

JACK: Did you say something?

GALE: They'll never give you Walt.

COMMERCIAL BREAK

[FLASHBACK]

[We see car on a city street spinning its wheels in the snow. Rose is in the car gunning the engine but not getting anywhere.]

BERNARD [on the sidewalk]: Don't gun it. You're digging yourself in. Just tap the gas lightly.

ROSE [rolling down the car window]: With all due respect, I have been driving in snow my whole life. You mind stepping back?

BERNARD: Well, you have to rock it out. You're not going to be able...

[Rose continues gunning the engine and not getting anywhere.]

ROSE: I'm calling AAA.

BERNARD: Why, so they can send a tow truck? Trust me, I can do this.

[Bernard goes around behind the car to push.]

BERNARD: Okay, ease on the gas. That's it. You're doing great. Almost. Go, go, go.

[The car moves forward and Bernard falls on his face. Rose gets out of her car.]

ROSE: Are you okay?

BERNARD: Oh, yeah, sure. I'm fine.

ROSE: You know, I would have gotten it out eventually.

BERNARD: Oh, sure. July's right around the corner.

ROSE [laughing]: Well, thanks for helping me.

BERNARD: Sure.

ROSE: By the way, I'm Rose.

BERNARD: Oh, uh, Bernard.

ROSE: Okay.

BERNARD: Oh, okay, yeah.

[Bernard starts toward his own car.]

BERNARD: Drive safe now, okay.

ROSE: Yeah, you too. [Rose hesitates a moment] Uh, um, Bernard.

BERNARD: Yeah.

ROSE: Can I buy you a cup of coffee?

BERNARD: Coffee would be nice. Yeah, okay.

[We see Bernard walking purposefully along the beach. Scene switches to Rose with a box of Dharmalars she's trying to give to Hurley.]

ROSE: I had to beat back half the group to get these. I saved them for you.

HURLEY: No way. I'm on a new diet. Nothing but fish and water; and fish and water.

BERNARD: Hurley, what are you doing, right now?

HURLEY: Talking to your wife.

BERNARD: Good. Can you get Libby and meet me at the edge of the tree line in 5 minutes? Oh, and if you can get Jin and Sun, Jenkins and that Frogurt guy -- the guy who used to make frozen yogurt.

HURLEY: Neill?

BERNARD: Yeah, and Craig -- anybody else you can get.

ROSE: Bernard? What are you up to?

BERNARD: I got an idea. [he walks away and goes toward a couple of redshirts] Hey, Richard, Craig, Jerome come here.

[Back in the hatch we see Jack getting some gear together.]

ANA: I'm not so sure trading people's their thing.

JACK: Well, talking to him is getting us nowhere, so -- I think we can get something for him.

ANA: You want me to come with you?

JACK [looking over at Locke]: You need to stay here.

ANA [handing him her gun]: You need it more than I do. Do yourself a favor, man. Don't go out there alone.

JACK: Alright.

[We see Kate at the shore trying to pry a mussel or some type of shellfish from a rock.]

SAWYER: Ah, that's how it's done. [the mussel finally comes free] Aw, well look at you. That's like 4 in the last half hour. Let me call the Guinness Book.

KATE: You want help or not? Because I've got better things to do with my time.

SAWYER [seeing Jack approach]: Oh happy day, here comes Dr. Giggles.

JACK: Hey.

SAWYER: Hey, yourself.

JACK: I'm going back out into the jungle to talk to our friend with the beard -- see if we can make a trade.

SAWYER: Ah, the old prisoner exchange. And you're inviting me along because you want a gun, huh?

JACK: I'm not inviting you; I'm inviting Kate. And I've already got a gun, but thanks for offering.

SAWYER: How the hell did you get a gun?

JACK: Does it matter?

KATE: I'll get my things.

[We see Bernard on the beach with a group gathered around.]

BERNARD: Okay, 2 months we've been on this island -- 2 months. And already we have a water trough, and we've got a food pantry. And people are taking showers in your hatch. Have you forgotten that we all crashed on this island? It's like none of you want to go home again.

CLAIRE: How can you say that? Of course we want to go home.

BERNARD: Well, then why aren't we doing anything about it?

HURLEY: Dude, we, like, built a raft. But it got blown up.

BERNARD: Okay, so what are we doing now? That pallet of food had a parachute which means a plane dropped it here which means there are other planes that fly over the island. So, we are going to build a sign -- a massive sign along the beach. So that way if a plane flies over or a satellite takes pictures from up there -- we want to make damn sure that they know we're here -- that they know about us.

ROSE: Maybe we should speak to Jack about this first.

BERNARD: Well, do we have to run everything by Jack? I mean, he's not the president. He's a doctor.

ROSE: You're a dentist.

[We hear some chuckling from the crowd.]

BERNARD: Could I speak to you for just a second? Come here. [he pulls her off to the side] Honey, it is just a sign. I don't see what the harm is.

ROSE: The harm is you are telling these people about airplanes and satellites coming out of nowhere to save the day.

BERNARD: I'm just trying to do something. I want to get back to our life.

ROSE: Well, the only thing you are doing is giving these people false hope.

BERNARD [looking hurt]: Excuse me; I have a sign to build. [going back to the group] Alright, I want to get this going right away. We've waited long enough.

COMMERCIAL BREAK

[FLASHBACK]

[We see Rose and Bernard sitting in a restaurant looking out over Niagara Falls].

ROSE: It's just amazing, isn't it?

BERNARD [signaling someone behind Rose]: Oh, sure, it's beautiful.

ROSE: You're not impressed, huh?

BERNARD: Yeah.

ROSE: So, what does God have to do to get your attention?

[Bernard again signals to someone behind Rose.]

ROSE: Bernard, what are you doing?

[Two violinists come to the table and begin to play. Bernard gets down on one knee.]

BERNARD: Rose, I've been a bachelor for 56 years, and then I met you. And we just fell into this rhythm like we had known each other forever. I always dreamed of finding somebody like you, but I'd given up hope that I ever would.

ROSE: Bernard.

BERNARD: I know, I know. It's crazy. We just met 5 months ago. But 5 months is long enough because I knew after 5 minutes. [he opens an ring box] Rose, I love you. Will you marry me?

ROSE: Bernard, I'm dying. I'm sick, and I'm dying.

BERNARD [to the violinists]: Would you excuse us for a minute, please? [he sits down again]

ROSE: I've been in remission for the last couple of years. But now it's back and this time it's not going away. My doctor says I have about a year -- maybe a little longer.

BERNARD [after a moment]: You haven't answered my question.

ROSE: Are you sure?

BERNARD: Oh, I'm sure.

ROSE: Yes. Yes.

[Back on the island, we see Bernard approach Charlie and Eko at their work site.]

BERNARD: Boy, you bunk with a guy for 48 days -- now he doesn't call or write.

EKO: Hello, Bernard.

BERNARD: What have you boys got going up here?

EKO: Just working.

BERNARD: Listen, I've got a whole team of folks throwing together a big sign down along the beach. Hopefully, it'll get spotted by a plane or a satellite. We could sure use all the bodies we could get to help put it together.

EKO: Sorry, I'm busy.

BERNARD: Charlie?

CHARLIE: Ah, regrets, Bernard, I've only got 2 hands, you know. Good luck, though.

BERNARD: Well, could I at least grab some of these logs? We could use them...

EKO: We're using them.

BERNARD: For what, exactly?

CHARLIE: A church.

BERNARD: A church?

EKO: Yes.

BERNARD: Everybody on this island is building something. I'm trying to get us saved.

EKO: People are saved in different ways, Bernard.

BERNARD: I think I liked you better when you just hit people with your stick. [he exits]

CHARLIE: I like you just the way you are.

[Back in the hatch. Locke is listening to music and getting frustrated trying to remember the diagram from the blast door. He moves on crutches toward the armory.]

LOCKE [to Ana]: I need to talk to him.

ANA: The gun's with Jack. The door stays closed. But if you want to talk to him -- talk to him.

LOCKE [through the armory door]: Henry, can you hear me? [he knocks] It's John, Henry. Henry, did you enter the numbers? Did you push the button, or not? Henry, I need to know. I want you to answer me. Answer me!

[We see Henry looking creepy and smiling.]

COMMERCIAL BREAK

[At the beach we see Bernard dragging a pile of rocks toward a small group of people there.]

BERNARD: What happened to everybody? Where's Craig? Where's Frogurt? [no one responds] Okay, alright, moving on. We're going to put this sign across this entire beach which means the letters have to be really big -- about 40 feet. These black rocks will get maximum contrast with the sand.

HURLEY: Dude, we're, like, going to need a lot more rocks.

BERNARD: Yes, Hurley, we're going to need a lot more rocks. There's a lava field about a half mile inland that's loaded with them. We're going to haul them out in 2 man teams. So, you guys double up, and I am going to start sketching out the letters in the sand. Let's do this.

HURLEY: Hey, um, I can sketch the letters.

BERNARD: Everybody's got a job, Hurley. I do my job, you do yours.

JIN: [Speaks in Korean]

BERNARD: What? What'd he say?

HURLEY: I think he's not so crazy about the whole carry the rocks a half mile thing.

BERNARD: Okay, this is going to take time. But if this is the thing that gets us off this place, isn't that worth it? [to Jin] Rome wasn't built in a day, you know. No, you don't know. Alright, let's get started. Come on.

[FLASHBACK]

[We see a jeep type vehicle driving on a dirt road in Australia.]

ROSE: We're lost.

BERNARD: You saying we're lost doesn't make us lost, sweetheart. I know exactly where we are.

ROSE: Me too. Driving around in circles in the middle of the Outback. That's why I wanted to be on a beach for our honeymoon.

[We see them pull into an area with a couple of buildings and a couple of people.]

ROSE: Thank goodness, civilization. Bernard, let's get directions.

BERNARD: Oh, I don't need directions. I told you, honey, we're not lost.

ROSE: Bernard, what's going on?

BERNARD [giving her a brochure]: I brought you out here because I want you to see this man. His name is Isaac of Uluru. He's helped hundreds of people. Now, I know how it looks, but believe me he's completely legit.

ROSE: Bernard, you brought me to a faith healer?

[She gets out of the car, annoyed.]

BERNARD: He's the real deal, Rose. When I started telling people about your situation I got 3 separate calls recommending him.

ROSE: My situation? This is why you wanted to come to Australia? To bring me to some kind of a kook?

BERNARD: No, he's not. Rose, I made a 10,000 dollar donation just to get you in to see him. Normally...

ROSE [upset]: I didn't ask for this! This is -- Bernard, I have made my piece with what is happening to me.

BERNARD: Well, I haven't. I can't just do nothing, Rose. That's not me. That's not who I am. I have to try. Will you try, Rose? For me.

[Back on the island we see Rose working around her shelter area. We can hear Bernard talking to Sawyer in the background. Scene switches to Bernard and Sawyer.]

BERNARD: If you have time to fix your hut you have time to move some rocks. Come on, we could really use your help.

SAWYER: What, you got union trouble down at the sand factory, Norma Rae?

BERNARD: Come on, Sawyer, I need your help. What do you say?

SAWYER: I say Pasadena.

[Bernard joins Rose at the water trough.]

BERNARD: Well, I hope you're happy.

ROSE: About what?

BERNARD: This morning I had 15 people willing to work on the sign, now I'm down to 4.

ROSE: How is that my fault?

BERNARD: At the very least I expected your support. You had to go and attack me.

ROSE: Have you ever stopped to think maybe the reason people are quitting is because you've got yourself a management problem?

BERNARD: What is the matter with you, Rose? I am just trying to do something.

ROSE: That's right. You're always trying to do. Why can't you just let things be?

BERNARD: If I didn't always have to do something you wouldn't be here.

[Rose looks at him, then grabs her things and walks away.]

[We see Jack and Kate walking in the jungle.]

KATE: I'm flattered.

JACK: Yeah, why is that?

KATE: Because you chose me to go with you instead of Sawyer.

JACK: I asked Sayid first but he turned me down. And I only asked you because they don't want you. They grabbed you -- had you at gunpoint. They could have kept you but they didn't. Then again, they didn't really want me, either.

KATE: Damaged goods, both of us.

[Jack walks on. Kate notices a doll on the ground.]

KATE: What's that?

JACK: Kate?

KATE: It's a doll. [she reaches for it]

JACK [running toward her]: Wait, wait, no. No don't.

[Just as Jack gets there a trap springs and they get captured in a net.]

KATE: Sorry.

COMMERCIAL BREAK

[We see Kate and Jack strung up in the net.]

JACK: You okay?

KATE: Yeah.

JACK: Oh good, so you can hear me? This isn't one of theirs.

KATE: No, it's not sophisticated enough. It must be one of Rousseau's traps, so hopefully she's not far from here.

JACK: It could be a week before she shows up.

[Jack struggles in the net.]

KATE: What are you doing?

JACK: I'm trying to get the gun. I can't get my arm around.

KATE [reaching around to get the gun out of Jack's waistband]: Alright. Sorry. I don't want to shoot you. Okay.

JACK: You got it?

KATE: Okay, ready? Got it, got it, got it.

JACK: Oh, alright. Okay, now give me the gun.

KATE: Why, what for?

JACK: I'm going to try to shoot the rope. [Kate starts to aim] Oh, hey, hey, hey.

KATE: I'm a better shot than you are.

JACK: Oh, really?

KATE: Yeah, I told you. I grew up hunting with my dad. [She shoots and misses.] Damn!

JACK: Well, at least they know where we are. Okay, now give me the gun.

KATE: Are you going to waste another bullet?

JACK [chuckling]: We'll still have 13 more to shoot each other with. Come on.

KATE: Fine. You have a better angle than mine anyway.

JACK: Oh, that's going to be your excuse when I make the shot?

KATE: When you make the shot.

[Jack shoots the rope and they fall to the ground.]

KATE: Nice shot.

[We see Bernard pulling a pile of rocks on to the beach. He sees Jin placing rocks along the outline of an S in the sand.]

BERNARD: No, no, no, no. You're doing it all wrong. I told you 3 rows -- 3 so they can see it from the air.

JIN [annoyed]: [Speaks in Korean.]

BERNARD: 3 rows. How hard is that?

JIN: [Speaks in Korean.]

BERNARD: So I just have to do everything myself?!

JIN: [Speaks in Korean.] [he starts to leave]

BERNARD: No, no, no. No, Jin. No, wait. Please, I just want to get my wife home. Rose. I want to get Rose home.

JIN: Sorry. [he exits]

[We see Locke's crutches in the sand, and Locke sitting beside them. Rose approaches.]

ROSE: You're in my spot.

LOCKE: I can move.

ROSE: Can you?

LOCKE: Oh, that's funny.

ROSE: I guess your sense of humor got trapped under that blast door with your leg.

LOCKE: I saw your husband walking through the jungle hauling rocks.

ROSE: He's building a big sign in the sand so the satellites will see it. That man doesn't know the difference between an errand and a fool's errand.

LOCKE: Well, Rose, most of us don't.

ROSE: So, what are you doing down here, John? Can't remember the last time I saw you out of that hatch.

LOCKE: I'm done with the hatch.

ROSE: Oh, now you're just frustrated. You'll be out of that splint and running around the island again in no time.

LOCKE: And yet, Jack said it would be at least 4 weeks.

ROSE: But, honey, you and I both know it's not going to take that long.

[FLASHBACK]

[Back in Australia, we see Rose being led into a room.]

AUSSIE WOMAN: Right this way, Rose. Please, make yourself comfortable. Isaac will be right with you.

[The room is filled with crutches hanging from the high ceiling. Rose investigates a wall covered with thank you notes to Isaac. Isaac enters.]

ISAAC: You must be Rose. Why don't you have a seat.

ROSE: So, um, how does this work? I sit here and you chant, pray, or what?

ISAAC: There are certain places with great energy -- spots on the Earth like the one we're above now. Perhaps this energy is geological -- magnetic. Or perhaps it's something else. And when possible I harness this energy and give it to others. May I?

[He puts his hands near Rose's face and closes his eyes. He suddenly opens his eyes, looking disturbed.]

ROSE: What? What, what is it?

ISAAC: I'm sorry. I can't do anything for you, Rose.

ROSE: I didn't expect you to. [Rose goes to a window and looks out at Bernard talking to a young girl on crutches.]

ISAAC: It's not that you can't be healed. Like I said, there's different energies. This is not the right place for you.

ROSE: Where is the right place?

ISAAC: I wish I knew. I'll return your husband's donation.

ROSE: Don't. I'm going to tell him you fixed me. I'm going to tell him you fixed me.

[We see Kate and Jack walking in the jungle, in the pouring rain.]

JACK: What did you mean back there?

KATE: What?

JACK: In the net -- you said they were sophisticated, the Others.

KATE: Uh, last week when the baby got sick, Claire and I went into the jungle and, uh, found another hatch.

JACK: What?

KATE: It's a medical station. There's nothing you can use; it was all cleared out, but I found some lockers. They had clothes inside -- all worn and dirty. And they were on hangers like costumes, you know. And there was a make-up kit, and a fake beard.

JACK: When were you going to tell me this?

KATE: When you decided to let me back in the club. [Jack walks away] What, you can keep one of them locked up in the hatch for like a week and say nothing, but then when I...

[Jack stops as they come to a clearing.]

JACK: We're here.

KATE: Are you sure?

JACK [pointing]: That's where they took a shot at Sawyer. Right over there was where they pushed you out of the jungle with the bag on your head. And right there is where I laid my guns down. [yelling out] Hey, hey I'm back! You say you're watching us -- you hear me? We've got your man! If you want him back you're going to have to come out here! Come on out!

KATE: Jack!

JACK: I know you're out there! I know you can hear me!

KATE: Jack, they're not here.

JACK: I'll be right here 'til you talk to me! I'll be right here!

COMMERCIAL BREAK

[We see Bernard on the beach alone adding rocks to his sign. Rose enters carrying a bowl on a tray.]

ROSE: I brought you some supper.

BERNARD: Thanks, you can just set it down there.

ROSE: Where is everybody? [Bernard gives her a look] I owe you an apology.

BERNARD: You don't have anything to be sorry for. It's my own damn fault I'm out here by myself.

ROSE: That's not why I'm apologizing. I lied to you. Back in Australia, Isaac -- he didn't heal me. He didn't do anything.

BERNARD: Of course he did.

ROSE: Bernard, he didn't heal me. But that doesn't mean I'm not healed.

[Rose continues speaking to Bernard on the island as a voice over on a scene of Rose and Bernard sitting, waiting at the airport in Australia.]

ROSE: When you're sick and you have got something inside you that doesn't belong there you can feel it.

[We see Bernard get his Oceanic tickets out and leave to make a phone call or something.]

ROSE: And after the crash I couldn't feel it anymore. At first I thought it was just shock. [We see Rose and Bernard back on the island] But it wasn't. It's this place.

BERNARD: But you said Isaac fixed you.

ROSE: I told you that so that you wouldn't spend what time we had left trying to do something.

BERNARD: Rose, you could just be in remission. How do you know it wasn't Isaac who healed you?

ROSE: Bernard.

BERNARD: How do you know that he didn't heal you?

ROSE: I know. I know.

[FLASHBACK]

[At the ariport, we see Rose still sitting by herself getting something out of her purse. A prescription bottle falls to the ground. Locke comes by in his wheelchair and picks them up for her.]

LOCKE: These yours?

ROSE: Thank you.

LOCKE: You're welcome.

[We see Rose and Bernard back on the island.]

ROSE: Trust me. I know.

BERNARD: You don't want to be rescued, do you? You think if you leave it'll come back. And if you can't leave, neither can I. We won't ever leave Rose.

[They hug and cry.]

BERNARD: I would offer to take down the sign, but we didn't get very far.

[We see an SOS sign dug in the sand.]

[In the hatch we see Locke listening to music. Ana approaches.]

ANA: Hey.

LOCKE: Hi.

ANA: I pressed your button.

LOCKE: It's not my button.

ANA: Where did you go?

LOCKE: I just needed to stretch my legs.

[Locke goes back to the computer and starts drawing the diagram he saw on the blast door. This time he's not frustrated and can remember easily. He smiles.]

[Montage: Charlie and Eko working on the church. Jin rubbing Sun's belly. Claire playing with Aaron. Hurley making hand shadow puppets for Libby. Sawyer feeding Vincent. Rose and Bernard cuddling.]

[We see Kate and Jack in the jungle sitting at a fire.]

KATE: How long are you going to wait, Jack?

JACK: Until I get my voice back. Then I'm going to yell some more.

KATE: Maybe they can't hear you.

JACK: They can hear me.

KATE: I'm sorry I kissed you.

JACK: I'm not.

[Suddenly they hear movement and see a torch coming through the jungle. Someone is running toward them making frightened gasping sounds. He falls almost at their feet and they turn him over.]

KATE: Michael.

[We see Hurley and Libby jogging on the beach.]

LIBBY: Isn't this nice?

HURLEY: I kind of prefer breathing.

LIBBY: Come on, you're doing great. You know, exercise is addictive.

HURLEY: Wow, I can see why.

[Hurley stops and puts his hands on his knees, trying to catch his breath.]

HURLEY: I need to drop a few pounds.

LIBBY: Hurley, don't be so hard on yourself. It's not going to happen over night. Some people's metabolisms are just a little slower.

HURLEY: It's not my metabolism. I'm sick.

LIBBY: What? What's wrong?

HURLEY: Never mind. [he starts to leave]

LIBBY: Hurley, you can trust me.

HURLEY: Okay, but it's bad.

[Scene switches to Hurley uncovering a "pantry" full of DHARMA food in the jungle.]

HURLEY: When we first crashed here, I was like, this isn't all bad -- it's, like, the all mango diet. I wasn't turning any heads or nothing but I did drop a couple belt sizes. Then we found this hatch and it was full of food -- tons of food. I tried giving it all away, but I guess I kind of kept some of it for myself. I wish I could just get rid of it.

LIBBY: Then get rid of it.

[Libby grabs a giant jar of ranch dressing and holds it out to Hurley.]

LIBBY: You want to change -- then change.

[Montage of Hurley opening and dumping the food from his pantry while Libby laughs and encourages him.]

LIBBY: How do you feel?

HURLEY: I feel free.

[Hurley and Libby hug and share a little intimate moment. Suddenly Jin, Sun and other people come running from the beach.]

JIN: [Speaks in Korean]

SUN: They found something. Come on!

[Hurley and Libby follow and we see people grabbing food from the supply drop.]

HURLEY: No.

LIBBY [to Charlie]: Where did this come from?

[Jin investigates the parachute and looks up.]

JIN [to Sun]: [Speaks in Korean.]

CHARLIE: Locke said some kind of blast doors trapped him in the hatch. Maybe it was because of this -- so no one would see who dropped it. Any of you guys see a plane last night?

SAWYER: Yeah, I saw it, Tattoo. I just decided not to tell.

[People start arguing over the food, sort of in the background.]

REDSHIRT #1: Hey, give those back, man. Those are mine.

REDSHIRT #2: No, man. I saw them first.

HURLEY: No.

REDSHIRT #1: No, you saw me put those in my box.

REDSHIRT #2: No way.

REDSHIRT #1: Give me my stuff, man!

SAWYER: Hold on, take it easy. You guys are like locusts. How about a little order here?

CHARLIE: Shouldn't we let someone a little more trustworthy take care of this?

SAWYER: Like you, babynapper?

CHARLIE: No, like Hurley. Why not Hurley? He's done it before, he can do it again.

HURLEY: No. No way! Not me, no. Not again, no.

LIBBY: Okay, hey, hey, how about no one's in charge, okay? I'm sure everyone can manage to just take what they need.

SAWYER: Great plan, Moonbeam. And after that we can sing Kumbaya and do 'trust falls.'

[The redshirts start talking amongst themselves, divvying up the food, trading, etc. We see Hurley notice something and are shown a man standing there in his bathrobe. He walks away and Hurley follows.]

HURLEY: Hey! Hey!!

[Hurley falls and as he gets up he notices the man's slipper on the ground.]

HURLEY: Uh-oh.

COMMERCIAL BREAK

[We see Hurley at the beach holding the slipper. Libby approaches.]

LIBBY: Hey. What are you doing?

HURLEY: Nothing.

LIBBY: Who were you looking for out there?

[Hurley tries to nonchalantly hide the slipper.]

HURLEY: No one.

LIBBY: When you ran off it sort of seemed like you were looking for someone. I tried to find you.

HURLEY: I kind of -- don't want to talk about it.

LIBBY: Sure, okay. Pretty weird, huh? So the island won't let you lose weight -- you destroy your stash, then bang -- more food falls from the sky.

HURLEY: How about that?

LIBBY: I'm proud of you.

HURLEY: Proud of me for what?

LIBBY: Not freaking out.

[FLASHBACK]

[We see Hurley wearing a bathrobe in a doctor's office.]

DR. BROOKS: How's the diet coming, Hugo?

HURLEY: It's okay. I had a salad and some chicken breast for lunch.

DR. BROOKS: That's great. It gets easier, I promise. So I heard you had a visit with your mom. How did that go?

HURLEY: It was good.

DR. BROOKS: You're not still mad at her, then?

HURLEY: Nah. I know she put me in here for a reason.

DR. BROOKS: What reason was that?

HURLEY: The accident.

DR. BROOKS: You want to talk about that today?

HURLEY: Do we have to?

DR. BROOKS: Hugo, you've been in here almost 2 months, now. Don't you think it's time to start getting our hands dirty? [Hurley doesn't respond] Okay, why don't we talk about that little homework assignment that I gave you?

HURLEY: I was never really good at homework.

DR. BROOKS: You remember what you were supposed to do -- just make a list of things you like about yourself?

HURLEY: Well, nobody else did it.

DR. BROOKS: Nobody else -- meaning -- ?

HURLEY: Well, Dave didn't do it. He said it was a stupid idea.

DR. BROOKS: Well, I'm not Dave's doctor, but we have talked about how he could be a very negative influence.

HURLEY: Dave's the most normal person in this place, man.

DR. BROOKS: But he doesn't want you to change, does he?

[We see a group of patients playing basketball. Hurley enters and we see Dave playing basketball.]

DAVE: Dude, dude, I'm open, dude. [another patient runs by him with the ball] It's called dribbling, not drooling -- dribbling. Well, shoot it then! Shoot it! [the patient lays the ball down under the basket] Wait -- oh, high percentage shot, excellent choice. [to Hurley] Do you want in the game, man? Go for it. Something tells me no one will care. [Hurley doesn't respond] What's the matter with you?

HURLEY: Nothing.

DAVE [to the players]: Dude, dude, give up the rock!

[The ball goes over Dave's head and Hurley catches it.]

DAVE: Fantastic, give it to the guy who's not even in the game!! [to Hurley] Hey, it's taco night, dude, let's blow this pop stand. [Hurley looks away] What?

HURLEY: Brooks said you're, like, negative.

DAVE: Well, duh. So what, you don't want to hang out with me anymore?

HURLEY: Uh, I don't know, it's just...

DAVE: Is that quack getting inside your head, man? Do not let him. You've got much more important things to think about.

HURLEY: Like what?

DAVE: Like hard or soft shell, baby -- chicken or shrimp -- sour cream or hot sauce.

HURLEY: Yeah, I guess I could eat.

DAVE: Yeah, I thought so -- noche de tacos, amigo.

[Back on the island we see Locke in the bunk bed, wiggling the toes on his left leg while Jack looks on.]

JACK: Good. Now, can you do the other one?

[Locke wiggles the toes on his other leg with some difficulty and pain. Jack looks at the wound on his leg.]

LOCKE: Is it broken?

JACK: Without an x-ray, you're just going to have to do with my best guess.

[Jack grabs Locke's leg near the wound and moves it, causing Locke to wince in pain.]

JACK: Sorry.

KATE [entering, to Locke]: How are you holding up?

LOCKE: Depends on Jack's best guess.

JACK [wrapping Locke's leg with gauze]: There's a small fracture -- probably hairline. This will keep the swelling down until I can get a splint on it.

LOCKE: How long 'til I can walk on it?

JACK: You're going to have to keep off it a couple of weeks. There's a wheelchair back at camp...

LOCKE: No! -- I don't need a wheelchair.

KATE: We took a pair of crutches from the fuselage when we moved down the beach. [Locke nods] Okay. I'll be back in a while.

LOCKE: He could have escaped.

JACK: Sorry?

LOCKE: Henry -- during the lockdown -- I was hurt. He could have escaped. [Locke winces in pain as Jack presses into his wound] But he came back to help me, why would he do that?

JACK: He didn't come back to help you, John. He came back because he thought his story was going to check out.

[We see "Henry" strung up in the armory. Sayid is questioning him.]

GALE: He was dead already. [Ana enters] 4 months ago I was part of the search party. Henry Gale was hanging out of the basket -- neck broken.

SAYID [motioning Ana not to speak]: So he was already dead?

GALE: Yes.

SAYID: Then you buried him and left a grave marker?

GALE: Yes.

SAYID [pulling a 20 dollar bill out his pocket]: You really should have checked his wallet before you did that. I assume Henry Gale did not have any paper on which to compose his thoughts, so he had to improvise. There wasn't much space for that. [reading from the bill] "Jennifer, well you were right. Crossing the Pacific isn't easy. I owe you a beer. I'm hiking to one of the beaches to start a signal fire. If you're reading this I guess I didn't make it. I'm sorry. I love you, Jenny. Always have; always will. Yours, Henry." So tell me, how did Henry Gale write a note to his wife with a broken neck?

GALE [panicky]: It wasn't me. I didn't kill him. You don't understand.

SAYID: How did you know his wife's name? Did you interrogate him?

GALE: Please, just listen. I'm just a --

SAYID: How many of you are there?

GALE: If I told you about them -- you have no idea what he'll do.

SAYID: He?

ANA: You mean their leader -- the guy with the beard.

GALE: Him? He's no one. Nothing.

SAYID: Where are your people?

GALE: I can't...

SAYID: How many of you are there?!

GALE: You don't understand.

SAYID [pulling a gun]: Understand this --

ANA: Hey.

SAYID: You have 3 seconds to answer my question. How many of you are there? 1 --

GALE: He'll kill me!

SAYID: I'll kill you. [he pushes the slide back on the gun] 2...

ANA: Sayid!

GALE: You can't do this! I am not a bad person!

SAYID: 3.

[Ana pushes Sayid just as he pulls the trigger so that he misses Gale.]

ANA: What the hell's wrong with you?

LOCKE [from the bunk bed]: What's going on? I heard a gun shot.

JACK [entering the armory]: What happened?

SAYID: He's a liar!

ANA [to Jack]: It's fine, just get him out of here.

[Sayid and Jack exit the armory.]

LOCKE: Jack! Jack!

JACK [looking in at Locke] I've got it covered, John.

[Locke hits the top bunk in frustration.]

GALE [to Ana]: Thank you.

ANA: Shut up.

[She locks Gale in the armory.]

COMMERCIAL BREAK

[We see Eko at the beach, sawing some wood. Charlie enters dragging the pallet from the supply drop behind him.]

CHARLIE: Hey, I noticed you were building something. I thought maybe you could use this -- for whatever it is.

EKO: That's very thoughtful of you, Charlie. Why don't you help me?

CHARLIE: What are you making?

EKO: Hold that end. [referring to a log]

CHARLIE: Is it a Starbucks?

EKO: Help me carry one of those logs, please.

CHARLIE: Are you going to tell me?

EKO: Not right now.

[We see Hurley walking through the jungle carrying the slipper. He suddenly sees a box of Dharma "fish crackers" on the ground and after a moment's hesitation he opens it and starts shoving them in his mouth. He looks up and sees Dave standing there in pajamas and a bathrobe.]

HURLEY: You're not here.

[Dave picks up a coconut and throws it at Hurley, hitting him in the stomach and making him spit out fish crackers. Dave picks up another coconut and looks like he's going to throw it, but he turns and runs. Hurley follows.]

HURLEY: Hey, wait!

[We see Hurley running after Dave through the jungle.]

HURLEY: Wait, Dave!

[Dave disappears and Hurley runs out onto the beach where Eko and Charlie are working.]

CHARLIE: Are you okay, Hurley?

HURLEY: Did either of you see a guy run through here -- in a bathrobe, with a coconut?

CHARLIE: No, I saw a polar bear on roller blades with a mango.

EKO: I did not see anything, Hurley.

HURLEY [exiting]: Yeah, me either.

[FLASHBACK]

[We see Hurley playing Connect 4 with Lenny.]

LENNY: 4, 8, 15... [he repeats the numbers over and over throughout the scene]

HURLEY: Uh, dude.

DAVE: Pretty sneaky, Leonard. [Lenny wins and gathers the red pieces to his side] You're using those magic numbers of yours as a psyche-out, are you man? Oh, yeah, that's right, you just play dumb. I'm on to your juju, man.

HURLEY [eating some celery]: They're just numbers, man.

DAVE: Hey. What the hell is that? [referring to the celery]

HURLEY: It's my mid-afternoon snack.

DAVE: Dude, that's celery. Celery's not a snack. Leonard's got graham crackers, man. You should snag one. He won't notice. What's he going to do -- call you a 23?

[Hurley and Dave laugh. Hurley grabs a graham from Lenny's plate.]

NURSE: Here you go. Here's your meds.

HURLEY: Thank you, nurse Lazenby.

[Hurley starts to swallow his pills.]

DAVE: Dude, you want to get out of here with me? Don't take the horse tranquilizer.

HURLEY: What do mean, get out of here?

DAVE: I mean escape, man. Me and you, A-S-A-P. They're getting to you, dude. We've got to split.

HURLEY: Dr. Brooks says...

DAVE: Dr. Brooks does not care about you, man. He's the one prescribing that crap. What the hell is it, anyway?

HURLEY: Clonazepam.

DR. BROOKS [entering]: Hugo, something wrong with your meds, there?

HURLEY: No, me and Dave were just, you know, talking about stuff.

DR. BROOKS: Right, well, sorry to interrupt. Hello there, Dave.

DAVE: Hello there, Dr. Brooks.

DR. BROOKS: And how are you today?

DAVE: Never been saner.

DR. BROOKS: I've been taking some pictures for the bulletin board. I've got everyone except you 2. Would you guys mind?

HURLEY: Okay.

[Hurley moves his chair over next to Dave.]

DR. BROOKS: Why don't you two get a little bit closer.

DAVE: Are you going to make us look at the ducky, too?

[Hurley puts his arm around Dave and poses.]

DR. BROOKS [taking a Polaroid]: Say cheese.

HURLEY: Cheese.

DAVE: Queso.

DR. BROOKS: Okay, you need a little water with that?

HURLEY: Nope, I'm good.

[Hurley tilts the pills into his mouth.]

DR. BROOKS: Okay, well fine. See you later guys, thanks for the photo op.

[Brooks exits. Hurley turns to Dave and sticks his tongue out, showing that he didn't take the pills.]

DAVE: Dude.

HURLEY: Dude.

DAVE: The revolution has begun, man. Lay low -- when the time is right we fly.

[Back on the island we Sawyer with a pack of DHARMA Initiative Chocolate Cream Cookies (like Oreos). He pulls the top off, but it breaks.]

HURLEY [entering]: You've got to twist it to get the frosting. Pulling it will only break the cookie.

SAWYER: Well, that's what I get for not going to the expert in the first place. What can I do you for, Deepdish?

HURLEY: I'm kind of looking for something.

SAWYER: Forget it; I'm done trading. I got enough food now to open a chain of mini-marts. Hey, you think Sayid needs a job?

HURLEY: Well, actually, I was sort of hoping you'd do me a favor. Remember when I helped you out with that tree frog -- that you killed?

SAWYER: Yeah, I remember.

HURLEY: I sort of -- need some medicine.

SAWYER: What do you need?

HURLEY: It's called Clonazepam.

SAWYER: Clonaza -- what? What the hell's that?

HURLEY: So you can calm down. Or, for when you're seeing things that aren't supposed to be there.

SAWYER: What stuff you seeing?

HURLEY: I don't know, maybe like a bald guy in a bathrobe.

SAWYER: You mean like that guy there?

[Hurley turns, but Dave isn't there.]

SAWYER [laughing]: Gotcha.

[Hurley looks angry and suddenly tackles Sawyer.]

SAWYER: Get off of me.

HURLEY: Who the hell do you think you are?

SAWYER [trying to get away]: Let go of me.

[Jin and Sun come out of their tent to see what's going on.]

SUN: [Speaks in Korean.]

HURLEY [punching Sawyer with each word]: Barbar, Jabba, Staypuff, Mongo, Lardo.

SAWYER: Let go of me. Get him off me.

[Jin looks quite amused but goes over and tries to help.]

SAWYER: What the hell's the matter with you? Get off me.

[Jin finally pulls Hurley off Sawyer.]

SAWYER: What the hell's the matter with you? You're crazy!

HURLEY: I'm not crazy. I'm not crazy.

COMMERCIAL BREAK

[We see Kate with some crutches at the beach talking to Sawyer.]

KATE [amused]: So, he just attacked you, huh?

SAWYER: Try to contain yourself, Freckles.

KATE: What? I'm worried. You look like you got your ass kicked.

SAWYER: Don't you got an adventure to get to? I think Timmy fell down a well over that way.

KATE: Seriously though, why would Hurley of all people...?

SAWYER: I've got no idea. I didn't do nothing. He just Hulked-out on me.

KATE: For no reason at all?

SAWYER: Okay, you walk off and have yourself a nice long giggle. But steer clear -- the man is crazy.

[We see Hurley putting things in a backpack at his shelter on the beach. Libby approaches.]

LIBBY: Hurley? Hey, are you okay? What happened with Sawyer?

HURLEY: I don't want to talk about it.

LIBBY: So, you beat him up?

HURLEY: I guess you know what happened, then.

LIBBY: I'm on your side, whatever you tell me...

HURLEY: I don't want to talk, okay!

[He puts a large jar of peanut butter in his pack, and notices Libby staring.]

HURLEY: What?

LIBBY: That's a lot of peanut butter.

HURLEY: Well, I'm going to need a lot of protein where I'm going.

LIBBY: Where are you going?

HURLEY: Back to the caves. No one lives there anymore, so I won't bother anybody. I'm just going to live alone and be one of those guys -- you know, the crazy guys -- with a big beard and no clothes who's naked and throws doodie at people.

LIBBY: Hurley, you don't have to do this.

HURLEY: Just leave me alone. You can't help me. No one can.

[Hurley exits. The scene switches to Hurley walking in the jungle. Suddenly his pack rips open and the peanut butter is jar is split open on the ground. Hurley uses a leaf to scoop some up and eat it. He hears footsteps and sees Dave's feet with one slipper.]

HURLEY: You're not here. You were in the hospital. You can't be here.

DAVE: Sorry, dude. I am here.

[FLASHBACK]

[We see Hurley in Dr. Brooks' office. He's reading from a list.]

HURLEY: I like that I have a good relationship with my mom. I like making my grandpa, Tito, laugh. I like chicken.

DR. BROOKS: Well, that last one wasn't about you, Hugo.

HURLEY: I like that I like chicken?

DR. BROOKS: So, tell me, how did it feel writing that? Was that difficult?

HURLEY: Kind of -- I think I messed up some spelling.

DR. BROOKS: I notice that you didn't say anything about the way you look. Are you comfortable with your appearance?

HURLEY: It's not like -- I mean, I can't really do anything about it, right? [Dr. Brooks just stares at him] If I, uh -- if I w -- if I wasn't so fat, they never would have died.

DR. BROOKS: There were 23 people on that deck. It was built to hold 8. And it would have collapsed whether you went out there or not.

HURLEY: Yeah, but I did walk out there. And it did collapse. I killed them.

DR. BROOKS: It was an accident.

HURLEY: That was my fault.

DR. BROOKS: After those people died, you were in a practically catatonic state. You stopped talking, you stopped going out, you stopped sleeping. But you never stopped eating because that's how you punish yourself.

HURLEY: Dave's right about you, you know. You're nothing but a quack.

DR. BROOKS: Dave doesn't want you to lose weight, does he?

HURLEY: You know, Dave cares about me. He's my friend.

DR. BROOKS: Let me show you something.

[Brooks gets the Polaroid out of Hurley's file.]

DR. BROOKS: It may upset you. It's the photo I took for the bulletin board.

[Hurley looks at the picture with surprise and shock.]

DR. BROOKS: Dave isn't your friend, Hugo, because Dave doesn't exist.

[We see the photo is a picture of Hurley sitting next to an empty chair with his arm around nothing.]

COMMERCIAL BREAK

[FLASHBACK]

[We see Hurley in bed sleeping. Dave enters.]

DAVE: Psst. Hey, wake up, dude. Finally, you could sleep though a damn NASCAR race, man.

HURLEY: Wait, you're not -- you're a hallucination. [Dave slaps him] Ow.

DAVE: Was that a hallucination?

HURLEY: Maybe I just imagined you slapped me? [Dave slaps him again] Ow! Damn it.

DAVE: We can do this all night.

HURLEY: Dr. Brooks showed me a picture from the rec room. My arm was around, like, nothingness.

DAVE: Uh, Kinko's, Photoshop? What, you think they really blew up the Death Star?

HURLEY: No.

DAVE: Then stop talking crazy, man. Come on, we're on a clock here.

[Dave starts to leave, but Hurley doesn't follow.]

DAVE: Hey, you in or you out, dude?

[Hurley follows Dave into the hall. They see a plate of food on a cart.]

DAVE: Hey, check it out, Marcus didn't finish hislasagna. That is a waste, man. One for the road?

[Hurley picks up the plate and starts eating. They stop at an area where they can see a guard below them.]

DAVE: Shhh. Wait for it -- wait.

[The guard leaves, and they continue on.]

DAVE: Tippy-toes, big guy. Vamanos.

[They make their way into the rec room, and go to the window which is padlocked.]

DAVE: Okay, man. You've got the keys, hombre. You took them off Brooks' desk earlier.

[Hurley looks surprised when he finds them in his pocket.]

DAVE: Come on, man. Open it; open it.

[Hurley unlocks and opens the window.]

DAVE: Oh, oh, oh -- can you taste that? That is freedom, baby. You know what tastes even better than freedom? Cheeseburgers.

[Dave jumps down out of the window.]

DAVE: Come on, man, chili-fries on me.

HURLEY: I don't think I can do this. I'm sorry.

DAVE: Sorry? What, are you kidding me?

HURLEY: You're not real. You're trying to get me to run away and get cheeseburgers because I want cheeseburgers.

DAVE: Did you take those pills, man?

HURLEY: No, man. I'm just not coming. Look, you don't want me to get better. You don't want me to change.

DAVE: You don't need to change, man. You are fine. You're great.

HURLEY: No I'm not. You just want me to stay fat. You don't want me to get better. You wouldn't care if I ate myself to death.

DAVE: Do not do this, man. If you don't come with me right now, you will never get out of here.

HURLEY: Bye, Dave.

[Hurley closes the window.]

[Back on the island we see Hurley with his eyes closed. He opens them and sees Dave. He closes them again, but Dave is still there when he opens them.]

DAVE: You wouldn't happen to have my slipper would you?

[Hurley hands him his slipper.]

DAVE: Thank you. Oh, man, you got peanut butter on it. Okay, look, I know you're freaking out right now, and I'm, I'm sorry. But it's going to get a little worse before it gets better.

HURLEY: Worse?

DAVE: Yeah, kind of. You ready, dude? [Hurley nods] You remember that night you closed that window on me? [Hurley nods] You remember what you did after that night?

HURLEY: Yeah, I realized you were imaginary.

DAVE: Mmmmhmmm.

HURLEY: And that was a breakthrough. And a little while later Brooks let me out, and I went home to live with my mom, and I got my job at Mr. Clucks back. And I got better.

DAVE: Okay, good, great, yeah -- except see, here's the thing -- none of that ever happened.

HURLEY: What?

DAVE: You're still at Santa Rosa, man. You never left the hospital.

HURLEY: That's not possible.

DAVE: It's hard, I know, but I mean -- all this? You, me, this island, that peanut butter -- none of it's real, man. None of it's happening. It's all in your head, my friend. The second you closed that window your brain popped a gasket. You went back into your little coma thing. That's where you are right this very second. In your own private Idaho, inside Santa Rosa.

HURLEY: No. I had my mom, my friend Johnny -- I won the lottery.

DAVE: Whoa, wow, awesome, dude! What numbers did you play? Leonard's number, right -- from the hospital? What a coincidence. You, uh, seen them around anywhere else?

HURLEY: The hatch?

DAVE: Bingo! The hatch -- the button that you've got to push every 108 minutes or the world ends. Oh, oh, oh, and what's the code for the button? Oh yeah, the numbers.

HURLEY: But I got better. I changed.

DAVE: Changed? What, are you kidding me? Take a look at yourself. You've been on a deserted island for over 2 months and you haven't dropped 10 pounds. How is that even possible, man?

HURLEY: I just destroyed my stash, and I've been exercising. Libby says it won't happen over night.

DAVE: Oh, right, right, right, Libby -- the mega cute blonde chick who magically appeared from the other side of the island. Oh, oh, oh, yeah -- and who just happens to have the hots for you. Come on, man, let's take a walk.

[We see Dave and Hurley walking through the jungle.]

HURLEY: So this is all just in my brain?

DAVE: Every rock, every tree. Every tree frog. Even me. The real me -- the one they told you was imaginary? He went out the window, man. Right now he's probably bouncing from hot chick to hot chick, unlike me, who's really you, who's got more important things to do.

HURLEY: So I'm making you up?

DAVE: Well, sort of. I'm part of your subconscious, man. All the people on this island are.

HURLEY: What part of me are you?

DAVE: I'm the part of you that wants to wake up, man. Follow me.

[We see them arrive at a high cliff above the ocean.]

DAVE: This is it, dude.

HURLEY: It?

DAVE: The big finale. The answer to all your problems. A way for you to wake up, snap out of it.

HURLEY: I don't want to kill myself.

DAVE: Who said anything about killing yourself, man? This is going to bring you back to life. The only way for you to bust out is to tell your mind that you don't believe any of this.

HURLEY: So, if I -- all this will be gone? I'll just wake up?

DAVE: That's right. And when you do wake up, come find me. I'm sure I miss you. See you in another life, Hurley.

[Dave backs up to the edge of the cliff and lets himself fall backwards, laughing all the way down.]

HURLEY: Dave!!

COMMERCIAL BREAK

[We see Locke approach Ana in the hatch.]

LOCKE: Jack not back yet?

ANA: Nope. He's telling everyone at the beach that we've got one of them. Something tells me people have a lot of questions about our houseguest.

LOCKE: I want to talk to him.

ANA: I don't think that's on today's program.

LOCKE: Well, all due respect, Ana-Lucia, but I don't care what you think. [she just stares at him] 5 minutes. I earned 5 minutes with him.

[We see Ana open the door to let Locke in the armory.]

LOCKE: What's your name -- your real name?

GALE: Why don't you just keep calling me Henry? I've gotten used to it.

LOCKE: Did you get caught on purpose? You and your people have been here for God knows how long, and you got caught in a net...

GALE: God doesn't know.

LOCKE: Excuse me?

GALE: God doesn't know how long we've been here, John. He can't see this island any better than the rest of the world can. May I ask you a question? What possible reason could I have for putting myself through all this?

LOCKE: Maybe your people were looking for this place.

GALE: This place? This place is a joke, John.

LOCKE: What are you talking about?

GALE: I crawled through your vents and I stood at your computer as the alarm beeped. And you know what happened? The timer went all the way down to zero, and then some funny red pictures flipped up in its place. They looked like hieroglyphics, but I'm no expert. And then things got real interesting. There was a loud clunking and a hum like a magnet -- a big magnet. It was really very frightening. And you know what happened next? Nothing happened, John. Nothing happened at all. Your timer just flipped back to 108. I never entered the numbers. I never pressed the button.

LOCKE: You're lying.

GALE: No, I'm done lying.

[Back at the cliff, we see Hurley looking down into the surf.]

HURLEY: Dave!

LIBBY [appearing]: Who's Dave?

HURLEY: What are you doing here?

LIBBY: What are you doing here?

HURLEY: How'd you know where I was?

LIBBY: Jin saw you while he was fishing.

HURLEY: Hah! Jin doesn't speak English.

LIBBY: Sun was with him. She translated. Hurley, what is going on?

HURLEY: No! You're just a part of me that's scared. You don't want me to wake up. Well, guess what? I'm not scared.

[Hurley takes a couple steps back toward the edge of the cliff.]

LIBBY: Okay, okay, Hurley, you're having some sort of panic attack. I get that. But this isn't like you.

HURLEY: Like me? You don't know me.

LIBBY: I was starting to.

HURLEY: Yeah, well did you know I'm so fat that I killed 2 people? And that I have an imaginary friend?

LIBBY: Hurley, please, you're going to hurt yourself.

HURLEY: No, I'm not, because this isn't happening. None of it. I'm just imagining it. This isn't real life.

LIBBY: Why would you say that?

HURLEY: Because in real life, no girl like you would ever like me. Remember when I said I knew you from somewhere? Well, maybe it's because I made you up?

LIBBY: What was the man's name who broke his leg? The day of the crash on the other side of the island, Eko brought a man with a broken leg to me for help. What was his name?

HURLEY: I don't know.

LIBBY: You don't know. You know why? Because it happened to me. His name was Donald, and I buried him. I buried a lot of people, Hurley. So don't tell me that that wasn't real. And don't tell me you made me up. It's insulting.

HURLEY: When you saw me on the beach this morning was I holding a slipper?

LIBBY: Not that I can remember, no. [she holds Hurley's face in her hands] Hurley, look at me. I am real. You're real. The way I feel about you -- that's real.

[She kisses him.]

LIBBY: And that was real.

HURLEY: Maybe you should do it one more time just to be sure.

LIBBY: Ready to go back?

[They start walking back.]

HURLEY: Do you really think I can, you know, change?

LIBBY: Yeah, yeah I do.

[FLASHBACK]

[The scene when Dr. Brooks take the picture of Hurley and Dave repeats with some changes.]

DR. BROOKS: Why don't you get a little closer together.

[We see Hurley put his arm around nothing.]

DR. BROOKS: Say cheese.

HURLEY: Cheese.

DR. BROOKS: So, you need some water to go with that?

HURLEY: Nope. I'm good.

[We see a woman patient's profile, apparently watching Hurley.]

DR. BROOKS: See you later, guys. Thanks for the photo op.

[The camera pans around and we see that woman is very disheveled, out-of-it, Libby.]

NURSE: Here's your pill, Libby.

[FLASHBACK]

[We see Locke retrieving an engagement ring he's hidden in a sock drawer. Scene switches to Locke in the kitchen packing a picnic lunch.]

HELEN [giving him a kiss]: So, what did I do to deserve this?

LOCKE: What, can't a fella take his girl out for a picnic lunch just because?

HELEN: Fella?

LOCKE [hiding the ring in the picnic basket]: That's right, fella.

HELEN: Where are you taking me?

LOCKE: I'm not telling, so just quit asking.

HELEN: Can I be of any help?

LOCKE: You just read your obituaries and drink your coffee and I'll take care of everything.

HELEN: Don't knock the obits -- the nicest part of the paper. No one ever says anything mean about people once they're dead.

LOCKE: Mmm, and here I am thinking the funnies are the nicest part of the paper.

[We see a concerned look cross Helen's face as she's reading the obits.]

HELEN: John? John, what's your father's name?

LOCKE: Why?

HELEN: Is it Anthony -- Anthony Cooper?

LOCKE: Yes, that's right.

HELEN: He's dead.

[Back in the hatch, we see Gale at the dining table with Locke and Jack.]

JACK [giving Gale paper]: Draw it again -- the map to your balloon.

GALE: I was joking. I was making a joke. There's nothing out there besides my balloon. I was just frustrated. It was a stupid thing to say. I'm sorry.

LOCKE: It's too late anyway. She's already long gone, Jack.

JACK: So, what's done is done?

LOCKE: That's right.

JACK: Put him back in the armory. [he exits]

GALE: Why do you let him talk to you like that? [Locke grabs him by the collar and forcefully takes him to the armory] Hey, wait, I...

LOCKE: Shut up!

GALE: John, I'm sorry. John?

[We see Ana and Sayid in the jungle, in the rain.]

ANA: Maybe he's wrong. We should search the other side of the cliff.

SAYID: We've been searching for 3 hours. This balloon does not exist. [calling out] Charlie!

ANA: Then why did he draw the map?

SAYID: You told him you would protect him whether we found this balloon or not. You've given him 2 more days to talk -- to figure how to escape. We're done. [calling out] Charlie!!

CHARLIE [off camera]: Over here! This way! [Sayid and Ana run toward him] Sayid!

[We see a burial mound with a cross.]

CHARLIE: He said he buried her, right? His wife?

ANA: Why isn't it raining here?

[They look up and see the balloon in the trees above.]

COMMERCIAL BREAK

[We see Hurley arranging things at his shelter. Jack approaches.]

JACK: Hurley, you seen Ana-Lucia?

HURLEY: She took off into the jungle with Charlie and Sayid yesterday.

JACK: Yesterday -- they say anything about where they were going?

HURLEY: Well, that would, like, assume that anyone actually tells me anything. Maybe if I were in the loop I could be more helpful.

JACK: There is no loop, Hurley.

CLAIRE [entering with Aaron]: Excuse me, Jack. He's been really hot and fussy. Do you mind having a look at him?

JACK: Yeah, sure, sure.

HURLEY [exiting]: Loop, dude, loop.

CLAIRE: So, the fever's completely gone?

JACK: Completely.

CLAIRE: You're not just saying that, right? You seem a bit distracted.

JACK: No, I'm fine. And so is Aaron.

CLAIRE: Thanks.

LIBBY [entering]: Doctor still in? I was grabbing for muscles in the tide pool -- pissed off a sea urchin.

JACK: Well, it doesn't look infected. A little neosporin wouldn't hurt.

LIBBY: Yeah, right, neosporin. [she looks toward Sawyer] I think the current rate of exchange is 10 loads of laundry for a tube.

JACK: Right.

[We see Gale reading in the armory. Locke is listening to music and riding the exercise bike. We hear a beep sound and a voice through heavy static.]

LOUDSPEAKER VOICE: 20 minutes to lockdown.

[Locke stops riding the bike. We hear feedback from the speaker. Locke stops the music and checks on the computer. The screen looks normal and the timer shows 47 minutes. We hear more feedback as Locke tries to fix the loudspeaker. The volume on the speaker increases dramatically, scaring Locke and getting Gale's attention.]

LOUDSPEAKER VOICE: ... 17 minutes to lockdown.

GALE: What was that? John, what's the matter?

[FLASHBACK]

[We see Locke and Helen drive up to the cemetery where Cooper's being buried.]

HELEN: You sure you want to do this? [Locke nods] We could just go on that picnic, you know.

LOCKE: Soon, I promise.

HELEN: Hey, maybe he left you his kidney?

[They chuckle. The scene switches to them sitting beside the coffin as the priest performs the service. Locke and Helen are the only people attending.]

FATHER CHUCK: For we who are alive, who are left, will be caught up together with them in the clouds to meet the Lord in the air. And so we will live with the Lord forever.

[Locke notices 2 thug-looking guys lurking a little way off.]

FATHER CHUCK: We commit the soul of Anthony Cooper to you, but we shall never be separated. And now we are united with Christ as we go toward him. Amen.

[Locke notices a silver car.]

FATHER CHUCK: Do you wish to say anything, John?

LOCKE [approaching the coffin]: I forgive you.

[The car drives away.]

[Back in the hatch, we hear more of the broken up loudspeaker message.]

LOUDSPEAKER VOICE: ... please proceed... protocol... please proceed...

GALE: John? Hey, you out there? What's that noise? John? What's going on? Talk to me.

LOCKE: Will you be quiet!

GALE: Tell me what's happening, what the hell is...

LOCKE: Will you shut up!!

LOUDSPEAKER VOICE: 9, 8, 7, 6, 5...

GALE: Maybe you should get Jack?

LOCKE: I said, shut up!!!

LOUDSPEAKER VOICE: 4, 3, 2, 1.

[The blast doors begin coming down. Locke manages to get a crow bar slipped in under the last door to go down just in the nick of time.]

GALE: What happened?

COMMERCIAL BREAK

[We see Hurley, Sawyer, and Kate playing poker on the beach.]

HURLEY: I bet 4 papayas.

SAWYER: You can't bet; I just bet. You can either call or raise or lay 'em down, Muttonchops.

[Hurley's unsure of what to do, and looks toward Kate.]

KATE: Don't look at me.

JACK [entering]: Lay 'em down, Hurley. He's got you beat.

HURLEY: Dude, I got a killer hand, here.

JACK: No, you don't.

HURLEY: But you don't even know...

JACK: You've a baby straight. He's got the flush.

KATE: What about me? What do I got?

JACK: Hard to say, but you're just playing for the fun of it.

KATE: Well, fun's not bad. You should try it sometime.

JACK [exiting]: Don't call him, Hurley.

SAWYER [to Jack]: Hey, Amarillo Slim -- you think because you watch poker on TV you can tussle with the big boys?

JACK: I've got to head back to the hatch.

SAWYER: Hatch ain't going nowhere, Doc. How about you put your mangos where your mouth is?

JACK: I guess I could play a hand or two.

[Back in the hatch, the lights start flickering.]

GALE: Hey, what's going on?

[Locke tries to lift the blast door using the crow bar, but can barely get it to budge.]

GALE: Are you still out there? John? John?

LOCKE: I'm here.

GALE: What were those noises? What's wrong? Did something...

LOCKE: Nothing is wrong.

[FLASHBACK]

[We see Locke putting the panel back on the crawl space access to a house, and meeting a woman in front of the house.]

NADIA: So what's the verdict, Mr. Locke?

LOCKE: The seismic bolting is all first rate; there's no visible mold, no dry rot. It'll all be in my report, but I think you and your husband got a pretty nice house.

NADIA: If I had a husband I'm sure he would be happy to hear that.

LOCKE: If you'll just sign this invoice.

[Locke notices the same car that was at the funeral is parked across the street. He approaches and the window rolls down revealing Cooper.]

COOPER: Hello, son.

[Scene switches to Locke and Cooper in a bar.]

LOCKE: What do you want?

COOPER: Look, John, I know what I did to you was wrong.

LOCKE: You stole my kidney.

COOPER: I was dying.

LOCKE: You could've asked me. You could have just asked me. What do you want from me?

COOPER: I killed myself off because there are 2 men out there who were going to beat me to it.

LOCKE: What'd you do, steal their livers?

COOPER: No, I took them for 700,000 dollars -- retirement con. I put the money in a safe deposit box, but these 2 guys may be sitting on the bank to see if I show my face -- which is why I need you to go in there and get it for me.

LOCKE: You think I'm stupid?

COOPER: I want you to take 200 grand of it. It won't make up for what I did to you, but it's the best I can do. I'll be at the Flightline motel -- it's out by the airport -- until tomorrow afternoon. Then I'm gone, money or no money. And, John, if I don't see you again? I'll understand.

[Back at the hatch.]

LOCKE: We're locked in.

GALE: What?

LOCKE: These blast doors came down. The whole living area is sealed off. I can't get out.

GALE: Did you try to pry...

LOCKE: Yeah, but I couldn't -- maybe, maybe if the 2 of us.

GALE: You want me to help you?

LOCKE: Yeah.

GALE: And if I do help you get these doors up then you're just going to lock me back in here, aren't you?

LOCKE: That's right.

GALE: Then I'm going to need your word, John. I'm going to need your word that you won't let your people do anything to me.

LOCKE: Well, if you're who you say you are then what are you worried about?

GALE: Things have happened to them -- things that I have nothing to do with. But they've got no one to blame except for me. So I'm going to need your word that you'll protect me, no matter what.

[Locke opens the armory door.]

LOCKE: Who are you?

GALE: My name is Henry Gale. I'm from Minnesota. And I crashed on this island just like you.

LOCKE: Alright, you have my word.

COMMERCIAL BREAK

[We see Hurley, Kate, Sawyer and Jack playing cards at the beach. There is a big pile of fruit on the ground between Jack and Sawyer.]

HURLEY: Dude, you got me.

KATE: I'm out.

SAWYER: Think you're in my head, Doc?

JACK: You've still got 3 papayas -- call or fold.

SAWYER: Well, you're in trouble now, Cool Hand. Pocket queens makes me the set. [he chuckles]

JACK [showing his cards]: King's wired.

HURLEY: Whoa, dude.

[Kate laughs, Sawyer looks crushed.]

JACK: But at least I'm not in your head. Well, I guess that's it.

SAWYER: What do you mean, "it"?

JACK: Sawyer, you're busted. I got it all. It wouldn't really be fair for you to go pick more mangos.

SAWYER: Oh, I've got a hell of lot more than mangos. You want to play real stakes, name 'em?

JACK [laughing]: It's a pile of fruit, man.

SAWYER: And I want it back.

KATE: Should I go and get a ruler?

SAWYER [to Hurley]: Fun time's over, Mongo. Why don't you go hit the buffet?

HURLEY: But, I want to...

KATE: Come on, Hurley. Let's go leave these boys to their sandbox.

SAWYER: One more hand, Doc. What's it going to take?

JACK: The medicine you stole from the armory, all of it.

[In the hatch, we see Locke positioning one of the longer bars for the weights to slide it under the blast door to get more leverage. Locke and Gale lift the door with the crow bar far enough to slide the weight bar under. They use the weight bar to try to lift the door higher.]

LOCKE: Let's go. Harder.

GALE: I'm losing it.

LOCKE: The tool box. Get the tool box -- that'll hold it.

GALE: You sure?

LOCKE: Get it! Come on, put it under.

[The tool box holds the door. Locke immediately starts to slide under.]

GALE: John, John, wait, don't just...

[The tool box buckles and Locke's legs are trapped under the door. He screams out in pain, and Gale tries lifting the door with his arms.]

LOCKE: You have to stop the door. Put something else under the door. Come on, come on.

[Gale puts the weights under the door.]

LOCKE: Stack 'em, stack 'em. You have to stop the pressure. Come on, come on, come on.

[Gale puts enough weights so the door stops moving down.]

GALE: Alright, alright, let's get you out. Come on.

[Gale starts pulling Locke out.]

LOCKE: No, no, stop, stop, stop!

GALE: Alright, we'll wait 'til somebody comes down. Alright? It's only a matter of time, yeah?

LOCKE: Yeah, but we don't have time.

[FLASHBACK]

[We see safe deposit box #1516 being opened. Inside is a pile of cash. The scene switches to Locke arriving home.]

LOCKE: Honey, put on your Sunday best! I'm taking you out to paint...

HELEN: John, we have visitors.

[Locke turns to see the men that were lurking at the funeral.]

HELEN: Um, these men say they knew your father.

BANE: Hi, John, I'm Jimmy Bane.

[Locke pauses a long time before shaking Bane's outstretched hand.]

LOCKE: I'm sure Helen told you I didn't really know him...

BANE: She told me. But I'd like to ask you a couple questions if that's okay.

LOCKE: Sure, of course.

BANE: Have you seen your father since he died, Mr. Locke?

LOCKE: Wh-have-have I...?

BANE: Well, we were thinking possibly he's not dead, and maybe you know that? I mean, for his son, you didn't look too shook up at his funeral.

HELEN: How dare you? If you had any idea what that man did to him -- what that son-of-bitch...

LOCKE: Helen, hey Helen.

HELEN: We were there to get past him, to get on with our lives, to let him go. Get out of here.

LOCKE: Helen, hey.

BANE: Okay. Okay, just one thing before we go. What's in the bag, John?

LOCKE: Work papers and stuff. I'm a home inspector.

BANE: You won't mind if we take a look?

[Locke gives him the bag and the other guy dumps it out on the table. It's just work papers and stuff.]

BANE: Well, there you go. Thanks for the coffee, miss. [they exit]

LOCKE: Helen, I'm sorry. Are you okay?

HELEN: Were you lying to those men, John?

LOCKE: No, I was scared. I was -- I was scared.

[They hug.]

[Back on the island, Sawyer and Jack are playing cards.]

SAWYER: So, where'd you learn to play cards, Doc?

JACK: Phuket.

SAWYER: What the hell were you doing in Thailand? [Jack doesn't respond] What, you don't think I know where Phuket is? Just because I dropped out in 9th grade don't make me an idiot. Far East, huh? I wouldn't have taken you for a world traveler. That where you got the art on your shoulder?

JACK: How about you deal again?

SAWYER: What?

JACK: This time from the top of the deck.

SAWYER [smiling]: Well, I had to try.

[Back in the hatch.]

GALE: What does it do?

LOCKE: We're not exactly sure.

GALE: And you push it...

LOCKE: Every 108 minutes, yeah.

GALE: How soon does this alarm go off?

LOCKE: Very -- which is why I need you to go up through the grate and into the vents.

GALE: Grate's bolted shut. I tried it.

LOCKE: There's another grate in the pantry. You can get up through there. Take the vent into the dome.

GALE: Maybe we should wait.

LOCKE: We can't wait; it's going to go off any minute. I trusted you, Henry, now you've got to trust me. That button has to be pushed.

GALE: Okay, what do I do?

LOCKE: Once you're inside, you'll hear the alarm beeping, and you just have to enter the numbers: 4, 8, 15, 16, 23, 42, and then you press execute. It has to be exactly those numbers in exactly that order. Now do you...

GALE: 4, 8, 15, 16, 23, 42. I got it.

[Gale goes into the pantry.]

LOCKE: Can you reach it?

GALE: I think so.

[Gale climbs up on the shelving and tries to open the grate.]

LOCKE: Be careful.

[Gale falls and is unconscious.]

LOCKE: Henry?

[We hear the timer start to beep.]

LOCKE: Henry?!

COMMERCIAL BREAK

[Back at the beach, Jack and Sawyer are playing cards. We see them through binoculars.]

LIBBY: What's going on?

HURLEY: Jack and Sawyer are finally going to beat each other up.

[The scene switches to Jack and Sawyer.]

JACK: 10 mangos.

SAWYER: Okay, I'll call you with the aspirin and raise you with a bottle of Amoxicilin.

JACK: Do you even know what Amoxicilin is?

SAWYER: You may have been to Phuket, Doc, but I've been to Tallahassee. [Jack looks like he doesn't understand] Let's just say something was burning and it wasn't from the sunshine.

JACK: I'm all in.

SAWYER: Well, that's the move of a man who wants me to lay it down.

JACK: You're not going to lay it down.

SAWYER: I'm not, huh? Why's that?

JACK: Because there's a bunch of people watching us right now and you don't want them to see you lose. Again.

SAWYER: Well alright, I call. What you got? [Jack shows his cards] Pair a 9s? You pushed in with a pair of 9's?!

JACK: You got me. Let's see 'em.

[Sawyer shows his cards, irritatedly. He's got a pair of 5s.]

JACK: Guess it was enough, huh?

SAWYER: Son-of-a-bitch.

JACK: I'll come get the meds later. [he starts to leave]

SAWYER: Hey, when I asked you what you wanted for stakes -- why didn't you ask for the guns?

JACK: When I need the guns, I'll get the guns.

[Back in the hatch we see that Henry is still unconscious and the alarm is still beeping.]

LOCKE: Henry, get up, damn it. Henry! [Henry comes to] Henry, are you alright?

GALE: What happened?

LOCKE: Listen to me, you have to get up into the vents and enter the numbers into the computer.

GALE: How long was I...

LOCKE: Please, you have to go right now; we're running out of time.

GALE [faintly]: Okay, yeah.

LOCKE: Be careful!

[Henry goes into the vent.]

LOCKE: Henry?! [The 1 minute alarm starts sounding] Henry, can you hear me?

[Locke tries very unsuccessfully to lift door with his arms.]

LOCKE: Henry? Henry?

[FLASHBACK]

[We see Locke arrive at the Flightline Motel and knock on the door to Cooper's room.]

COOPER: Yeah, who is it?

LOCKE: It's John. [Cooper opens the door, smiling broadly] Can I come in?

COOPER: Yeah, of course.

[Locke opens the bag of money. Cooper starts transferring the money to his own bag.]

COOPER: Any problems.

LOCKE: Nope.

COOPER: Your date at my funeral -- she got a name?

LOCKE: Helen.

COOPER: That's a nice name -- pretty girl, too.

LOCKE: I'm, uh, I'm going to ask her to marry me -- tonight, actually.

COOPER [chuckling]: Well, good for you. Congratulations.

LOCKE: Yeah, thanks.

[Cooper puts a couple of stacks of money on the table.]

COOPER: Your share -- should buy you a nice honeymoon.

LOCKE: I didn't do this for the money.

COOPER: Then why did you do it? [Locke just looks at him] Well, alright, um -- my plane, I gotta -- I gotta cab waiting. If you don't want the cash, the maid's going to get a hell of a tip. Bye, John.

[Cooper opens the door to find Helen standing there. Locke is shocked.]

HELEN: Are you him?

COOPER: Listen, sweetheart...

HELEN [slapping his face]: How could you? How could you do this to him? We were moving past this.

[Helen looks to Locke. He looks like he wants to explain, but can't find the words. Helen leaves.]

LOCKE: Helen, wait. [he follows her] Helen, wait, you don't understand. I was going to tell you everything.

HELEN: You lied to me.

LOCKE: No, please, I can explain.

HELEN: You looked me right in the eye and you lied to me. You made your choice, John. You need his love more than mine.

LOCKE: No, my choice is you. I was going to -- I love you. [Helen opens the car door] No, please. Please, Helen. I love you and I want to spend my life with you and, and I can't live without you. Helen, so -- [Locke goes down on one knee and pulls the ring out] so, will you marry me?

[Helen looks troubled, but she gets in the car and drives away.]

LOCKE: Helen.

[We see Cooper staring at Locke. He gets in the cab and drives off.]

[We see Locke in the hatch. The alarm is sounding furiously.]

LOCKE: Henry! Henry!!

[Suddenly the alarm stops and we hear the timer numbers flipping. We hear sounds like something powering up. The lights go out. We hear the numbers stop flipping.]

LOCKE: Please say something.

[We see black lights comes on, Locke looks at the blast door in surprise and we see a map of the hatches fluorescing in the black light. The lights go off again, and the regular lights come back on. The blast doors come up. We see that a bar on the bottom of the door has gone into Locke's leg. He pushes himself away from the door.]

LOCKE: Henry!

[Locke pulls himself by his arms into the computer room.]

LOCKE: Henry? Anybody here?

[We see the timer at 107.]

LOCKE: Is anybody here? Henry!

[We see Henry approach Locke from behind.]

LOCKE: You came back.

GALE: What, did you think I was going to leave you here? Come on, can you stand?

LOCKE: I don't -- I think so. [Locke stands and leans again a wall] Thank you, Henry. Thank you for not leaving me.

GALE: You're welcome, John.

COMMERCIAL BREAK

[We see Jack walking in the jungle at night with a torch. Kate, also carrying a torch, runs to catch up with him.]

KATE: Hey, hey, Jack. Wait up. You heading up to the hatch?

JACK: Yeah.

KATE: Mind if I join? It's been a while since I had a shower and I was just hoping that...

JACK: Actually, the plumbing's busted.

KATE: Busted?

JACK: Yeah, water's been running muddy. I guess we've got a cracked pipe but it's going to take some time to find it.

KATE: Oh, well, I guess I wasted a trip, then.

JACK: Well, I'll let you know as soon as we get things worked out down there.

KATE: Right. [she turns to leave, but turns back] I'm glad you beat Sawyer.

JACK: You know what? The hatch can wait until morning -- if you'd like me to walk you back to the beach.

[Kate notices a strobe light a little distance away in the jungle.]

KATE: Do you see that?

JACK: Yeah.

[They walk toward it and find a pallet of Dharma supplies.]

JACK: It's a parachute.

[Kate grabs a box out off the large pile of supplies.]

JACK: Wait.

[Kate holds up a box of mac & cheese.]

KATE: It's food.

[They hear rustling in the bushes and turn to see Charlie, Sayid and Ana.]

CHARLIE: What the bloody hell is that?

JACK [to Sayid]: What'd you find?

[We see Gale helping Locke to the couch in the hatch.]

GALE: I've got you, easy, easy.

[Gale lifts Locke's leg up to the coffee table. Locke winces in pain.]

GALE: Sorry.

LOCKE: What did you do -- what did you do to end it -- to make the doors go up?

GALE: I did what you told me to. I punched in the code and pressed the execute button, but nothing happened other than that clock flipping back. I was climbing back into the vent when the lights went out. 10 seconds later the doors went up. I didn't do anything.

LOCKE: You think it was all just random?

GALE: Don't look at me; it's your hatch.

JACK [entering]: Get away from him.

GALE: Wait, you don't...

SAYID [aiming his gun]: Step back, right now.

LOCKE: Sayid, it's okay.

[Jack grabs Gale and shoves him up against a wall.]

JACK: I said, "get away"!

LOCKE: I let him out -- some kind of lockdown or something -- he, he was helping me.

GALE: Couldn't you find my balloon?

ANA: Yeah, we found it.

SAYID: We did find your balloon, Henry Gale, exactly how you described it. We also found the grave you described -- your wife's grave. The grave you said you dug with your own bare hands. It was all there. Your whole story -- your alibi -- it was true. But still I did not believe it to be true. So I dug up that grave and found that there was not a woman inside. There was a man. [Sayid shows him a driver's license] A man named Henry Gale.

[FLASHBACK]

[We see Sun looking in a mirror.]

JIN [subtitled]: Are you coming to bed?

SUN [subtitled]: I'll be right there.

[Sun enters the bedroom wearing a nightie.]

JIN [subtitled]: You look great.

SUN [subtitled]: Oh, come on.

JIN [subtitled]: Turn around.

SUN [subtitled]: Honey...

JIN [subtitled]: Come on, please.

[Sun does a little spin for him, and goes to the bed where they kiss.]

JIN [subtitled]: Did you take your temperature?

SUN [subtitled]: Isn't that romantic.

JIN [subtitled]: I'm sorry. It's just -- we've been trying for a year. I think we should see a doctor.

SUN [subtitled]: A doctor?

JIN [subtitled]: A fertility doctor.

SUN [subtitled]: Why do you care so much about a baby you wouldn't even see?

JIN [subtitled]: Don't blame my work, Sun. I work so we can...

SUN [subtitled] Work? When a man comes home with blood on his hands that isn't "work."

JIN [subtitled]: And why do you think I come home with blood on my hands? I have blood on my hands because of your father. Because of what he makes me do!

[Sun starts to cry, and Jin gets out of bed and goes to the window.]

JIN [subtitled]: I didn't mean to -- I'm really sorry. Maybe if we had a baby your father might change his mind. Maybe if we gave him a grandchild he might give me a safer job. A baby will change everything. A baby will make it better.

[Back on the island we see Sun working in her garden. She's afraid when she hears rustling in the bushes, but it's only Jin.]

SUN [subtitled]: Jin, you scared me.

JIN [subtitled]: Do you know how long I've been looking for you? What are you doing out here?

SUN [subtitled]: What do you mean? I'm working in my garden.

JIN [subtitled]: Come with me, we're going back.

SUN [subtitled]: What? No.

JIN [subtitled]: Let's go, now.

[Jin grabs her arm and pulls her up to make her come with him. She jerks away.]

SUN [subtitled]: What?!

JIN [subtitled]: The others attacked you here. We talked about this! Let's go. Now.

[Jin grabs and pulls her again. She breaks away.]

SUN [subtitled]: I don't need you to protect me. I'm just working in my garden.

JIN [subtitled]: What? "My garden?"

[Jin rips up a bunch of plants from the garden.]

SUN [subtitled]: Stop! Please stop!

JIN [subtitled]: Now you have no reason to be out here. Shall we go back now?

[Sun walks off ahead of him.]

COMMERCIAL BREAK

[We see Ana running hard on the beach. She runs toward some shelters and we see Locke sitting under a tree eating a banana.]

LOCKE: You were running like the devil's chasing you.

ANA: Maybe he is.

LOCKE: Good for you, keeping in shape.

ANA: What do you want, Locke?

LOCKE: What do I want?

ANA: I've been here over a week -- you've never said 2 words to me. And now you're sitting outside my tent?

LOCKE: We've got a man locked up down in the hatch. There's a possibility he's one of them -- the Others.

ANA: Who's we?

LOCKE: Me and Jack. He's keeping watch right now.

ANA: How long's he been down there?

LOCKE: 3 days. I'd like you to talk with him. You have experience with the Others. You were a cop. Seems to me you're the most qualified to figure out if this man's telling the truth.

ANA: Does Jack know you're coming to me with this?

LOCKE: We've got a serious problem, Ana-Lucia -- all of us. I'm taking the necessary steps to solve it. I don't need Jack's permission to talk with you because right now there's a man sitting in a room in my hatch and I want him out.

[We see Sun walking at the beach. She stops in pain near a tree. We can hear Rose and Bernard faintly.]

ROSE: I don't have to give you anything. It's the thought that counts. You just didn't think.

BERNARD: I think all the time. You know, maybe you should think about giving me a little bit of a break here.

ROSE: Oh, just hush, Bernard. Just hush.

[They see Sun in pain and go to her.]

ROSE: Honey? Are you alright?

SUN: I'm -- I think I'm just a little lightheaded.

BERNARD: You look as pale as a sheet.

ROSE: Well, give her some water.

BERNARD: Yes, ma'am.

ROSE: Don't pay him any mind, honey. He's just mad at the world because he forgot my birthday.

BERNARD: I didn't forget. I don't even know what day of the week it is, Rose.

ROSE: It's Saturday, Bernard. [to Sun] Honey, can you walk?

SUN: Really, I'm alright.

BERNARD: Maybe we should go get Jin?

SUN: No -- I think I was just out in the sun too long.

ROSE: Well, you spent a lot of time around the baby maybe you caught something. At least talk to Jack.

SUN: Really, I'm okay. Thank you -- both of you.

[FLASHBACK]

[We see Sun enter a hotel room and put the do not disturb sign on the door. Jae is there.]

JAE [subtitled]: Was there traffic?

SUN [subtitled, taking off her coat]: Just the usual.

JAE [subtitled]: Does he know you're here?

SUN [subtitled]: No.

JAE [subtitled]: I thought you were going to tell him.

SUN [subtitled]: I couldn't.

[She drops her coat and they share a look as they both bend down to pick it up.]

SUN [subtitled]: I'm glad you were able to get away today.

JAE [subtitled]: Just one of the perks of being the general manager and the hotel owner's only son -- flexible hours. The room's not too shabby, either. Can I get you a drink?

SUN [subtitled]: Just some iced-tea, please.

JAE: In English.

SUN [with difficulty]: I would like iced-tea, please.

JAE: Very good.

SUN: Thank you.

JAE [subtitled]: Are you alright?

SUN [subtitled]: I'm fine.

JAE [subtitled]: Do you want to talk about it?

SUN [subtitled]: Not really.

JAE [subtitled]: Well, if you change your mind -- not that I'm the one to come to for relationship advice -- but I think Jin would proud that you can speak English.

SUN [subtitled]: And what do I tell him when he asks how I learned? Or who I learned from?

JAE [subtitled]: If you're uncomfortable with our arrangement, we can stop.

SUN [subtitled]: Is that what you want?

JAE [subtitled]: No. It's good practice for me, too.

[Back on the island we see Jack get out of the shower.]

LOCKE: Morning, Jack.

[We see Locke is shaving.]

JACK: You couldn't wait 'til I was done in here?

LOCKE: The steam opens up my pores. A man's got no shaving cream, he's got to improvise. I also thought this might be a good time to talk about our problem.

JACK: Our problem?

LOCKE: Our Henry problem. We've had him locked up for 3 days now, and I can't help but get the sense that he's just not motivated to cooperate with us.

JACK: And how are we going to motivate him?

LOCKE: I don't think there's anything we can do. I think we need to bring in some new blood.

JACK: Obviously, you have someone in mind.

LOCKE: What do you think about Ana-Lucia?

JACK: Why her?

LOCKE: She's the one you went to to start an army to fight these people -- why not her? Unless you're worried about what she'll do to him.

JACK: I'll talk to her.

LOCKE: I already did. She's in there with him now.

[We see Ana and Gale in the armory.]

GALE: Were you on the plane, too?

ANA: I was in the tail section. We crashed on the other side of the island.

GALE: You walked across all the way here? That must have been fun.

ANA: It had its moments. So, are you going to tell me your story, Henry?

GALE: Why bother, I've already told it to everyone -- Jack, Locke, the big black guy that cut off his beard in front of me. Oh, yeah, and my buddy, Sayid. You can see how much he liked my story.

ANA: So how about you try me.

GALE: I don't mean to be ungrateful, but why are you going to help me get out of here?

ANA: On the other side of the island there was this guy with us. I was 100 percent convinced that he wasn't on the plane. So I dug a whole and I threw him in it.

GALE: And what happened?

ANA: I was wrong. And now he's dead. But good news for you Henry -- I don't make the same mistake twice. So how about you tell me your story?

[We see Sawyer reading a book, Sun approaches.]

SUN: Sawyer?

SAWYER: Well, hey there, Sunshine, what can I do for you?

SUN: How's your book?

SAWYER: Predictable -- not nearly enough sex.

SUN: I heard that you have all the medical supplies.

SAWYER: You heard correct.

SUN: May I look through them?

SAWYER [chuckling]: No you may not. But if you'll tell me what you're looking for...

SUN: Forget it.

[Sun starts to leave.]

SAWYER [going after her]: Okay, hold on. Now I'm intrigued. Tell you what, tell me what you're looking for and it's yours, gratis.

SUN: Can't I just look myself?

SAWYER: It's not a drugstore, sweetheart.

SUN: I need a pregnancy test.

COMMERCIAL BREAK

[We see Locke and Jack in the hatch. Locke is listening to music while Jack stands at the armory door.]

JACK: Can't hear anything.

LOCKE: She's only been in there about 30 minutes.

JACK: How do you know he hasn't snapped her neck, John?

LOCKE: How do you know she hasn't snapped his?

[In the armory.]

ANA: So let me get this straight -- you and your wife travel around the world and crash here in a smiley-face balloon? Then she dies. You get captured by a French chick who brings you here, and then they lock you up.

GALE: It sounds kind of silly when you say it like that.

ANA: Why don't you have a beard?

GALE: Because I shaved -- because I needed something normal.

ANA: Okay, so why don't you draw me a map to your balloon? We'll go out there, we'll find it, and everybody will believe you.

GALE: That's what they all keep asking me to do -- draw a map. And if I mess up they'll crucify me.

ANA: You flew around the world in a balloon and you don't think you can draw up a good map?

GALE: Air travel -- it's a different animal. It's about wind currents and...

ANA: Do you or do you not know where it is?

GALE: Yeah, I know where it is. I went back there to bury my wife.

ANA: Why'd you do that?

GALE: Because our balloon was the closest thing we had to home. You people have been looking for someone to punish for everything that's happened to you -- someone to blame -- and now you've got him. It doesn't matter what I do, I'm dead already.

ANA: You draw up that map, Henry. I'll find your balloon. But if you don't, things are going to play out just like you said.

[We see Sun walking stealthily through the jungle. She stops and pulls out the pregnancy test. Suddenly Hurley appears holding a partially eaten Apollo bar. Sun quickly hides the test behind her back.]

HURLEY: Hey, Sun. Look what I found in the middle of the jungle. It's not even melted or nothing. Crazy, huh? You want to split it?

SUN: No. No, thank you. I was just heading to the beach.

HURLEY: Okay, well, later, dude.

[FLASHBACK]

[Jin and Sun are in a doctor's office. The doctor enters.]

DR. KIM: Hello, Mr. Kwon. Hello, Mrs. Kwon. I apologize for the wait. How is your father?

SUN: Well, thank you.

DR. KIM: Please give him my regards.

SUN: Of course. And thank you for seeing us so fast.

JIN [interrupting]: Doctor, do you have the results?

DR. KIM: I'm afraid the news is not good. The ultrasound showed advanced endometriosis -- scar tissue -- blocking the fallopian tubes. I'm afraid that -- even with surgery -- the chances of conceiving are -- impossible.

JIN: Can't you fix this? There must be something you can do.

DR. KIM: I'm afraid not, sir. I'm sorry.

JIN: Did you know about this before we got married?

SUN: What?

JIN: You must have had some idea.

SUN: Why would I keep something like this from you? Oh, yes. I was trying to trap the son of a fisherman.

[Jin looses his temper and pushes some papers off the doctor's desk and storms out.]

[Back on the island we see Jack and Locke in the hatch. We hear Ana bang on the armory door.]

ANA: Coming out.

[Jack opens the door for her.]

ANA: He told me the same story he told you.

LOCKE: You believe him?

ANA: I don't know yet. I need more time with him.

LOCKE: He's all yours.

ANA: Tomorrow. I want to give him some time to think. [to Jack] If that's okay with you.

JACK: I didn't tell anyone, Ana.

ANA: No worries, man.

[We see Sayid and Charlie building something out of bamboo at the beach.]

CHARLIE: A bit large for a dining room table, isn't it?

SAYID: If we cut them in two, it will suit the purpose.

ANA [entering]: Sayid, can I talk to you?

SAYID: Of course.

ANA: Alone?

SAYID: Whatever you need to say you can say it here.

ANA: It's about the hatch.

CHARLIE: You mean the guy locked in the closet there? What about him?

[Ana pulls a map out of her pocket and hands it to Sayid.]

ANA: It's to his balloon.

SAYID: How did you get him to do this?

ANA: I asked nicely.

SAYID: Do Jack and Locke know about this?

ANA: Jack and Locke are a little too busy worrying about Locke and Jack. All I want to know is if this guy's telling the truth.

SAYID: Why come to me?

ANA: Judging from what you did to his face that's what you want, too.

SAYID: This is at least a day's walk.

ANA: Then we should get going.

COMMERCIAL BREAK

[We see Ana, Sayid and Charlie walking across a stream. Charlie stumbles and Ana reaches to help.]

ANA: You okay?

CHARLIE: I'm alright. Thanks.

[They continue walking and see a cliff in the distance.]

SAYID [pointing]: That cliff there appears to be this [showing the spot on the map].

ANA: Score one for Henry.

SAYID: Pointing out a geographical touchstone does not mean he's leading us to a balloon.

ANA: Maybe not, but at least we're on the right island.

[Sayid walks off.]

CHARLIE: Humor's not his strong suit. [Ana doesn't respond] And I'm saying this to you.

[They continue walking. Charlie looks around and sees Ana staring at him.]

CHARLIE: You looking at my bum?

ANA: No, I'm looking at your gun.

CHARLIE: My what?

ANA: Maybe you should give the gun to somebody who knows how to use it.

CHARLIE: Maybe I will. As I recall, the last time you had a gun you murdered someone.

SAYID: That's enough.

[Charlie takes the gun out and acts like he's going to give it to Ana but gives it to Sayid.]

SAYID: We'll go as far as the base of the cliff and we'll camp there.

[We see Sun and Kate sitting on the beach. Kate has the instructions to the pregnancy test.]

SUN: How long is it supposed to take?

KATE: Uh, up to two minutes.

SUN: I'm sorry -- I'm just...

KATE: I know. Where did Sawyer find one of these anyway? I mean, who flies with a pregnancy test, right?

SUN: Have you ever taken one?

KATE: Yeah.

SUN: Thank you for waiting with me and not asking why you're here and not Jin.

KATE: You're welcome. It's time.

[Sun looks and sees two pink lines.]

KATE: You're pregnant.

SUN: Is it 100 percent sure?

KATE: There's only one way to find out.

[We see Jack with the pregnancy test.]

JACK: These tests are pretty accurate. You know, a false negative in the first week maybe, but positive is a positive.

SUN: But it's impossible.

JACK: Oh, it's possible. You feeling queasy, lightheaded?

SUN: Please, Jack. This is private, nobody can know.

KATE: You're not going to tell Jin?

SUN: In time I will, it's just -- it's complicated.

JACK: As complicated as Jin being the last one on the island to find out you spoke English? Sun, my advice -- and it's just that because I'm the last person to ask about this, but -- you should tell him. And when you do you should tell him everything -- the whole truth. I'm going to get back to the hatch. Congratulations, Sun.

KATE: You've been down there a lot, Jack. Is everything okay?

JACK: Sure, yeah, everything's fine. [he exits]

KATE: Are you okay? Sun?

[FLASHBACK]

JAE: Sun? Sun. Sun are you alright?

SUN: Yes, I'm fine.

JAE: You were distracted for our entire lesson. You're not fine.

SUN: We -- Jin and I went to see a doctor. He said I cannot have children.

JAE: I'm very sorry, Sun.

SUN: I was glad.

JAE [subtitled]: Why are we here?

SUN [subtitled]: Because you're teaching me English.

JAE [subtitled]: You've been practically fluent for a month now. Why are you learning English?

SUN [subtitled]: Because I'm moving to America.

JAE [subtitled]: Jin. You're going to leave him. I ran away to America for a woman because I thought I was in love. But you can't run away from your life.

SUN [subtitled]: And Jin? Is he my life? I should stay because...

JAE: I'm not saying you should stay for Jin.

[Back on the island we see Sayid sitting at a campfire. Charlie is sleeping. Ana enters.]

ANA: Do you mind?

SAYID: You should sleep while you can.

ANA: Yeah, I can't sleep. People don't like me. I tried to get them to most of my life. I guess I just gave up a while back. I mean, I am what I am. But you -- you've got a good reason to hate me. I'm sorry. I'm sorry for what I did.

SAYID: You were trying to protect your people. It wasn't you that killed Shannon; it was them. And once we find out he is one of them then something will have to be done.

COMMERCIAL BREAK

[We see Sayid watching Ana sleep.]

ANA [waking]: What?!

SAYID: Nothing.

ANA: It's going to rain.

SAYID: We should get moving.

CHARLIE [entering]: Morning! Who wants breakfast? I have papayas and papayas.

SAYID: Let's go.

CHARLIE: Right, why eat?

[We see them walking in the rain when they come to a large clearing.]

SAYID [looking at the map]: This is it.

CHARLIE: This balloon would be rather large, right?

SAYID: Why am I not surprised?

ANA: We need to look some more.

SAYID: This is where he said it would be.

ANA: If I'm going to back your play on this, Sayid, we need to be sure.

SAYID: I'll divide the area into 3 grids, so search as thoroughly as you please.

[We see Jin with his fishing net at the shore. He sees Bernard struggling with a net of his own.]

BERNARD: Oh, for the love of...

JIN: [Speaks in Korean.]

BERNARD: Oh, no, no, no, it's not for fish.

JIN: [Speaks in Korean.]

BERNARD: No, no, no, oysters. [he makes a gesture to indicate a shell opening and picking something out] Pearl, for Rose.

JIN: Ahhh.

BERNARD: Pearl.

JIN [shaking his head]: [Speaks in Korean.] No oyster. No oyster here.

BERNARD: Ah, of course not. Why would there be?

SAWYER [entering]: Yo, Dadio.

JIN: Sawyer.

SAWYER: Way to go, Papa-san. You didn't waste much time. I'd give you a cigar, Bernie, but I'm fresh out.

BERNARD: Sun's pregnant?

SAWYER: Keep it down there, Suzie; I don't think Jin Sr. here knows yet.

[Jin hears them speaking gibberish.]

[Scene switches to Jin replanting Sun's garden. Sun enters.]

SUN [subtitled]: What are you doing?

JIN [subtitled]: I'm fixing a mistake.

SUN [subtitled]: You didn't have to.

JIN [subtitled]: Yes, I did. I need you.

SUN [subtitled]: What?

JIN [subtitled]: I hate being this way. Fighting. And I can't -- I can't talk to anyone. I can't understand them. I need you, Sun.

SUN [subtitled]: Jin, I...

JIN [subtitled]: It's okay -- I'm sorry. It was wrong of me to...

SUN [subtitled]: I'm pregnant.

JIN [subtitled]: What? You're...

SUN [subtitled]: I'm pregnant, Jin.

[Jin is joyful and hugs Sun, lifting her off the ground.]

SUN [subtitled]: Jin, listen to me.

JIN [subtitled]: What is it?

SUN [subtitled]: There's something -- there's something I need to tell you.

[FLASHBACK]

[We see Sun walking her dog. A car pulls up beside her.]

DR. KIM [subtitled]: Sun! Sun!

SUN [subtitled]: Dr. Kim?

DR. KIM [subtitled]: Will you get in the car?

SUN [subtitled]: What? Why?

DR. KIM [subtitled]: Please, I need to speak with you.

[Sun seems a bit weirded out and starts walking away. Dr. Kim gets out of his car.]

DR. KIM [subtitled]: Wait! Please! I've done something terrible. It's not you that can't have children.

SUN [subtitled]: What?

DR. KIM [subtitled]: It's him. It's your husband.

SUN [subtitled]: But why would you...?

DR. KIM [subtitled]: I couldn't. I'm so sorry. Your husband, he works for your father. If I told a man like him he couldn't -- he would burn my practice to the ground!

SUN [subtitled]: Why are you telling me this now?

DR. KIM [subtitled]: Because you deserve to know the truth.

[We see Jin and Sun back on the island, still in the garden. Jin looks stunned and sits down.]

JIN [subtitled]: Why didn't you tell me?

SUN [subtitled]: How could I?

JIN [subtitled]: If I can't -- how can there be a baby?

SUN [subtitled]: I swear to you, Jin, I have never been with another man. That is the truth.

JIN [subtitled, taking a long pause]: Then it's a miracle.

[They hug.]

COMMERCIAL BREAK

[We see Sun and Jin working in the garden together.]

JIN [subtitled]: If it's a boy I'd like to use a character from my father's name.

SUN [subtitled]: And perhaps one from my mother's.

JIN [subtitled]: Can we tell people?

SUN [subtitled]: Well, Jack and Kate already know. And Sawyer probably knows.

JIN [subtitled, nodding]: Dadio. And Bernard knows, too.

SUN [subtitled]: We'll be lucky if there's anyone left to tell.

JIN [subtitled]: Are you ready for lunch? Shall we go back?

SUN [subtitled]: I'd like to stay for another 20 minutes or so -- by myself. If that's alright with you.

JIN [subtitled, disappointed]: Of course. That's fine. I'll see you back at the beach.

SUN [subtitled]: I love you.

[Jin stops in his tracks and kisses her.]

JIN [in English]: I love you. [he exits]

[Sun puts her hands on her belly and smiles.]

[We see Gales reading in the armory. Jack enters.]

JACK: How is it?

GALE [reading from the book]: Men reject their prophets and slay them, but they love their martyrs and honor those whom they have slain. [to Jack] So what's the difference between a martyr and a prophet?

JACK: Either way, it sounds like you end up dead.

GALE: That's the spirit.

JACK: In the mood for some breakfast?

[We see Locke getting bowls and cereal. Jack leads Gale out of the armory. Locke looks surprised. Gale sees the computer room.]

GALE: What's the computer for?

JACK: Nothing.

GALE: Cereal? Wow, where'd you guys get cereal?

LOCKE: It was down here all along. The pantry's full of food.

GALE: How old is it? [Jack and Locke don't respond] You guys don't know much, huh? I mean, I'd be asking all kinds of questions about all this stuff down here. You guys don't even seem that curious.

JACK: Do you want the cereal or don't you?

GALE: This must be my reward for good behavior, huh? I guess I earned myself some good will for finally drawing that map for Ana.

LOCKE: What map?

GALE: To my balloon.

JACK [to Locke]: Did you...

LOCKE: No.

GALE: Wow, you guys have some real trust issues, don't you? Guess it makes sense she didn't tell you. I mean, with the two of you fighting all the time. Of course, if I was one of them -- these people that you seem to think are your enemies -- what would I do? Well, there'd be no balloon, so I'd draw a map to a real secluded place like a cave or some underbrush -- good place for a trap -- an ambush. And when your friends got there a bunch of my people would be waiting for them. Then they'd use them to trade for me. I guess it's a good thing I'm not one of them, huh? You guys got any milk?

[Scene opens on the beach at night. Aaron is crying.]

CLAIRE: Hey, hey it's okay, sweetie. Shhh. Hey, sweetie, it's alright. [She shakes Locke awake] John, John, wake up.

LOCKE: What? Claire...

CLAIRE: He's burning up, and he's got a rash, and I need to find Jack.

LOCKE: He's on shift at the hatch.

CLAIRE: Okay.

[Claire starts off toward the hatch. Locke gets up and follows.]

LOCKE: No, no, Claire, wait. Claire, wait.

CLAIRE: I can't, John.

LOCKE: No, you're not walking through the jungle in the middle of the night. I'll go get Jack; I'll send him right back here.

CLAIRE: Okay.

LOCKE: Don't worry.

[We see Jack sleeping on the couch in the hatch. Locke enters and Jack awakens.]

LOCKE: Jack.

JACK: What's going on?

LOCKE: Baby's got a fever.

JACK: A fever?

LOCKE: Claire was coming here.

[Jack and Locke look toward the closed armory door.]

LOCKE: He asleep?

JACK: Not a sound all night. I'll get back here as soon as I can.

[We see Claire putting a cold rag on Aaron's forehead.]

CLAIRE [panicky]: Hey, it's okay; it's okay. Mommy's going to cool you down, okay. Shhh, it's okay. [Claire hears something behind her] Jack.

[We see Danielle approaching from behind. Claire quickly picks up Aaron.]

CLAIRE: What are you doing here? You stay away from us.

DANIELLE: He's infected, isn't he?

CLAIRE: What?

DANIELLE: Your child, he's sick.

CLAIRE: Get away. You get away from us!!

DANIELLE: You don't remember, do you?

[Claire gets a far off look in her eye and we see a montage of very quick shots -- apparently flashes of Claire's memory from when she was abducted: a crib with a plane-mobile, a cold locker opening to reveal vials of a medicine, someone knitting a baby booty, a cap being unscrewed from a canteen, the face of young woman, a needle ejecting some liquid, a swab of alcohol being swiped across a pregnant belly and a long needle being inserted, a quick scene of Danielle and Claire struggling. When we see the cap being unscrewed we hear a VO saying: "It's a vaccine, we don't want him to get sick."]

KATE [running in, to Danielle]: Hey, get back! Get away from her! What do you think you're doing here? What are you doing here?! Just get out of our camp.

[Danielle leaves.]

KATE [to Claire]: What happened? What did she say?

CLAIRE: She said there's something wrong with him.

COMMERCIAL BREAK

[We see Jack at Claire's tent having a look at the baby.]

CLAIRE: It's just not like him. He always sleeps through the night. And this rash -- I mean, there's something wrong.

JACK: Babies get sick, Claire.

CLAIRE: Okay, well, the fever and cough?

JACK: Perfectly normal.

CLAIRE: He hasn't been eating at all.

JACK: Claire, he's okay. It's probably rosiola -- a typical virus that's common in children his age, and the rash is a sign of it.

CLAIRE: Okay, what's if it's not? What if he caught something really bad -- like some kind of infection?

JACK: Infection? Where did you get that idea?

KATE [entering]: Rousseau was here.

JACK [to Claire]: What did she say to you?

CLAIRE: She said she knew he was sick, okay -- that he's infected.

JACK: Claire, there is no infection. We've been on this island 2 months and no one's gotten sick. Rousseau's crazy. We're going to let the fever just run its course. It's going to be fine, okay, trust me. I'm going to get back to the hatch. I'll come back in a couple of hours and check on him again, okay.

CLAIRE [inaudibly]: Okay.

JACK: Okay?

CLAIRE: Yeah.

[Jack exits.]

KATE: Hey, I'm sure that if there was something wrong Jack would know.

[The next morning we see Kate and Claire walking quickly through camp.]

KATE: Are you sure about this? We don't really know her.

CLAIRE: I think she can help me.

[Kate and Claire approach Libby and Hurley.]

LIBBY: Hey.

HURLEY: Hey, guys.

CLAIRE: So, you're a shrink, right?

LIBBY: I'm a clinical psychologist, but "shrink" works, too.

CLAIRE: Can you help people remember things?

LIBBY: I guess it depends on what you need to remember.

[We see Kate, Libby, and Claire walking along the beach.]

CLAIRE: So, it was our second week on the island, I was out in the jungle and I thought I was having the baby. Charlie was with me, and there was this man, Ethan. We thought he was one of us from the plane but he wasn't. So, he took me. He took both of us. And, I don't remember. I don't remember anything.

KATE: When Jack and I found Charlie he was hanging from a tree by his neck.

CLAIRE: I have no idea what happened and now I'm seeing these flashes of things and -- you know, I have amnesia. There's 2 weeks missing from my life.

LIBBY: Claire, I don't think you have amnesia. You know, sometimes when something terrible happens to us there's a switch in your head that flicks on to protect us from having to deal with it. Maybe your memories aren't gone. Maybe you're just blocking them.

CLAIRE: Then I need you to unblock them because my baby's sick and they did something to him.

[We see Locke and Jack opening the door to the gun vault to bring Gale some food.]

JACK: Do you have to go to the bathroom?

GALE: No.

JACK: Well, just let us know when you do.

GALE: I'll look forward to that.

LOCKE [tossing a book on the cot]: I thought you might like something to read.

GALE: Dostoyevsky. You don't have any Stephen King?

LOCKE: The library's a little outdated.

GALE: Right. Well, thanks.

[Jack and Locke exit the gun vault.]

JACK: What's with the book?

LOCKE: Just something to pass the time. Did you know that Hemingway was jealous of Dostoyevsky?

JACK: No, John, I didn't know that.

LOCKE: He wanted to be the world's greatest writer, but convinced himself that he could never get out from under Dostoyevsky's shadow. Kind of sad, really. What are we doing, Jack?

JACK: What are we doing?

LOCKE: We can't hide him down here forever. Changing shifts around is going to get people asking questions. I just want to know what the long term plan is.

JACK: Well, John, let me ask you this: we don't have a long term plan for the button but we keep pushing it, don't we? Look, until we know who he is -- whether or not he's telling the truth -- we have to keep doing what we're doing. If you've got a better idea let's hear it.

GALE [very faintly]: Why don't you let me go?

[We see Kate holding Aaron. A little distance away Libby and Claire are sitting on the ground facing each other.]

LIBBY: We're away from all the noises of the camp. Just breathe. Let your whole body relax, good. Listen to the waves. Good, in and out slowly. Keep your eyes closed. Very relaxed, Claire. Just keep breathing. Now, I want you to visualize yourself when you were pregnant. Keep listening to my voice. Think about what you see.

[Claire sees more memory flashes: prescription vials, a young woman's face, the plane mobile with plane's crashing, a door closing, a needle, a sonogram of a baby on a monitor, the young woman mouthing the words "wake up," a needle pushing into Claire's belly, a shot from when Claire was attacked in the night before she was abducted. During the flashes we hear a VO: "You don't want him to get sick." Then we see hands on Claire's pregnant belly. She's in a hospital gown.]

VOICE: When was your last check-up, Claire?

CLAIRE: I haven't been in a while. I've been busy, you know. I'm going to Los Angeles.

VOICE: Really?

CLAIRE: Yeah.

VOICE: Traveling in your third trimester -- that's not usually recommended.

CLAIRE: There's a family there. I'm, uh, giving the baby up for adoption.

VOICE: Oh, of course, I understand. The sedative I gave you was very mild. I know these exams can be very stressful.

[We see the doctor go to a refrigerated cabinet filled with the vials from Claire's previous flashes. He fills a syringe with liquid from one of the vials.]

VOICE: I'm going to give you a shot now, Claire. [the camera pans up to reveal that Ethan is the doctor] A little medicine for your baby. Don't worry; you're just going to feel a little pinch.

[We see a series of memory flashes again, and see Claire back on the beach. She screams and scrambles to a standing position.]

LIBBY: It's okay, you're alright. It's okay. It's okay.

CLAIRE: It was Ethan. I saw Ethan. I saw him. It was Ethan.

COMMERCIAL BREAK

LIBBY: Claire, it's okay.

CLAIRE: No, it's not!

LIBBY: You're alright.

CLAIRE: No, I'm not alright. It was Ethan.

KATE [entering]: What happened?

LIBBY: I don't know.

KATE: What did you do?!

LIBBY: Nothing, she just...

CLAIRE: Do it again. Do it again!!

LIBBY: No, Claire. You are screaming...

CLAIRE: I remembered, okay. I saw Ethan. He was there and he was giving me an exam.

LIBBY: Claire, what you saw could be combining experiences of what happened before the crash to the night you were having dreams here on the island.

CLAIRE: No, I know this was real. I was drugged. He did something to me.

KATE: Claire, you need to calm down, alright. It's not good for Aaron.

CLAIRE [taking Aaron from Kate]: You know what -- Aaron is sick, okay. I need to find that place -- that room is real. It's real. And there's medicine there for the baby. I need to find it. I need to find it. Kate, please help me find it.

[We see a tree with an X marked on it, and hear the sound of chopping. We see Eko fell a tree. The scene switches to Eko entering the hatch.]

EKO: Hello.

[Jack is with Gale in the bathroom and shuts the door, shushing Gale.]

EKO: Hello? Hello.

LOCKE [changing a light bulb]: Howdy.

EKO: Hello, John. You are alone?

LOCKE: Not anymore.

[We see Gale and Jack in the bathroom.]

GALE: How many of you are...

JACK: Shut up.

[We see Eko and Locke.]

EKO: I was hoping to borrow a saw.

LOCKE: Absolutely, right this way.

[Locke exits and Eko sees the cot set up through the open door of the armory.]

[We see Sawyer reading a book near his tent on the beach. Kate approaches.]

KATE: I need a gun. And you don't get to ask why.

SAWYER: Well, Thelma, seeing as I got all the guns, I do get to ask why.

KATE: No, you don't.

SAWYER: Yes, I do -- watch. Why?

KATE: Just give me a gun, Sawyer.

SAWYER: Check it out -- I found a new pair of glasses damn near my prescription. You like 'em?

KATE: Alright, I'm going into the jungle to track down Rousseau.

SAWYER: The French chick? What for?

KATE: Claire thinks she knows where there might be some medicine. The baby's sick.

SAWYER: Well, hell, I got medicines.

KATE: She thinks he's really sick -- as in quarantine sick.

SAWYER: What do you think?

KATE: I think she's a little too worried, but she's going after Rousseau with or without me.

SAWYER: No boys allowed, huh? [Kate shakes her head] Alright, what do you want -- 9 millimeter or rifle?

[We see Claire handing Aaron over to Sun.]

SUN: I don't think this is a good idea. Maybe you should listen to Jack.

CLAIRE: What if Jack's wrong, okay? Jack said the fever would break and it hasn't. He's getting worse.

SUN: Just because it hasn't broken yet...

CLAIRE: Well, how long am I supposed to wait, Sun?

SUN: A mother should not leave her child.

CLAIRE: I'm sorry, are you a mother?

SUN: No, I'm not. Claire, are you sure you want to do this?

CLAIRE: What did you say?

SUN: Are you sure you want to do this?

[Claire has another series of memory flashes: a strange looking log, Ethan saying: "You need to be sure," the plane mobile, the young woman saying: "You need to get out of here," an operating room, Claire with someone holding something over her mouth, being injected with a syringe, a canteen. Then we see the cabinet with the vials being opened by Ethan. He fills a syringe with liquid from the vials.]

CLAIRE [drugged and loopy]: Do you have to put that in my tummy? It really, really hurts.

ETHAN: I know. I wish there was another way. But the baby needs it, Claire. Okay?

CLAIRE: Okay.

[Ethan "injects" Claire's belly.]

ETHAN: There, all done. That wasn't so bad, was it?

CLAIRE: No.

ETHAN: And now, because you've been such a good girl, I think it's time for a surprise.

[We see Claire and Ethan walking down a corridor. Claire sees some stairs and a ramp, apparently an exit, but Ethan steers her another way.]

ETHAN: Claire, this way. Here we go. Over here.

[He takes her to a room that's made up like a nursery.]

CLAIRE: What is this place?

ETHAN: It's for your baby, Claire.

CLAIRE: It's amazing. What happened to Charlie?

ETHAN: Charlie? Oh, he's fine. When we got far enough away from camp, I let him go back.

CLAIRE: Oh. So, where did it all come from?

ETHAN: Well, I'd love to explain everything to you, Claire, but I'm afraid it would be a little overwhelming right now.

[Claire sees the crib with the plane mobile and seems to recognize it.]

ETHAN: Go ahead, turn it on.

[Claire turns it on and it plays Catch a Falling Star.]

VOICE [from outside the room]: Ethan.

ETHAN: Wait here, I'll be right back.

CLAIRE: Okay.

VOICE: What the hell happened? You were supposed to make the list and then bring her in. Was I unclear?

ETHAN: It's not my fault. They knew I wasn't on the plane. They had a manifest.

[The voice is revealed as Mr. Friendly, without his beard and grubby clothes.]

MR. FRIENDLY: What am I supposed to tell him? You know what he's going to do when he finds out. Damn it, Ethan.

[Mr. Friendly notices Claire listening and closes the door.]

[There are a series of memory flashes, and then we see Claire back on the beach.]

SUN: Claire? Claire, are you alright?

CLAIRE: I, um...

KATE [entering]: Ready to go?

CLAIRE: Aaron, sweetheart, shhhh. Mommy's got to go now, sweetheart. Don't cry. Don't cry. I'll be back really soon and I'm going to make you feel all better, okay. I promise. [to Sun] Thanks.

SUN: Okay.

KATE: You okay?

CLAIRE: Yeah.

COMMERCIAL BREAK

[We see Kate and Claire walking through the jungle.]

CLAIRE: You're sure this is her trail?

KATE: We started at the exact spot where we chased her off the beach.

CLAIRE: So, what do you know about Rousseau?

KATE: Not much.

CLAIRE: You spent all that time with her when you went out to the Black Rock. You must have talked about something.

KATE: Just about her ship crashing here -- her and her research team getting stranded.

CLAIRE: What happened to them?

KATE: They died.

CLAIRE: How?

KATE: Tracks are gone -- trail ends here.

CLAIRE: Kate, how did they die?

KATE: She killed them.

CLAIRE: What? Why, why would...

DANIELLE [appearing]: Because they were infected. You believe me now, don't you?

CLAIRE: I want you to take me back there.

DANIELLE: Back?

CLAIRE: To where I scratched you.

KATE: Claire.

CLAIRE: No, okay, she knows I remember! I remember a lot of it now. I remember the room, the medicine, a teenage girl. Okay, so don't lie to me and make out you don't know what I'm talking about. My baby is sick and you're going to take me back there to get what he needs. Right now!

DANIELLE: It's not far from here.

[We see Jack on the beach getting water. Eko approaches.]

EKO: Jack, may I have a word with you?

JACK: Sure.

EKO: Who is he?

JACK: What?

EKO: The man that you are keeping in the hatch.

JACK: Did Locke tell you?

EKO: Locke did not tell me anything. Who is he? I wish to speak to him.

JACK: Speak to him about what?

EKO: I wish to speak to him alone. Can you arrange this?

JACK: Why should I do that?

EKO: Because you wish to keep this a secret.

[We see Kate, Danielle, and Claire walking through the jungle. Danielle stops.]

CLAIRE: Why are we stopping here?

DANIELLE: This is where you scratched me.

CLAIRE: But there's nothing here.

DANIELLE: Where do we go next?

CLAIRE: Why are you asking me that? You need to tell me where to go.

DANIELLE: Where is this room?!

CLAIRE: How can you be saying that? You grabbed me, that's why I scratched you -- because you were taking me back to them.

DANIELLE: Is that what you think? You said you remembered! That's why I brought you here. You lied! [she grabs Claire]

KATE [pointing her gun]: Hey, get your hands off of her!

[Claire walks off, and Danielle approaches Kate until the barrel of the gun is up against her chest.]

DANIELLE: Go ahead, please. Do it.

[Kate, surprised, leaves Danielle and follows Claire.]

KATE: Claire! Claire!

[Claire sees the strange log from her memories. She has another series of memory flashes.]

[We see Ethan enter the nursery where Claire is knitting a baby bootie.]

ETHAN: How's it coming?

CLAIRE [still drugged and loopy]: One down, one to go.

ETHAN: Now all we need is a little foot to put it on, huh? Tell you what, what do you say we sneak out of here and take a walk?

CLAIRE: Okay.

[We see Ethan and a stumbling Claire walking through the jungle.]

ETHAN: Whoa [in response to Claire's unsteadiness]. I'm sorry this is the first time I've managed to get you out. My friends are afraid you'll run away. Whoa! Whoa. Don't tell on me, okay?

CLAIRE: Okay.

ETHAN: Whoa, easy now. Aright, easy.

[They sit down on the log and Ethan offers her his canteen.]

ETHAN: Okay, here, this will help.

CLAIRE: Thanks [she drinks]. Ew.

ETHAN: What?

CLAIRE: That's really sour.

ETHAN: Is it? I hadn't noticed.

CLAIRE: Oh, hey, it's kicking!

ETHAN: May I?

CLAIRE: Yeah.

ETHAN [feeling Claire's belly]: Claire, can I tell you a secret?

CLAIRE: Yeah.

ETHAN: I'm going to miss you. I wish -- I wish you didn't have to go.

CLAIRE: Maybe I don't have to go?

ETHAN: We've been through this Claire. There's not enough vaccine for you and the baby.

CLAIRE: Well, I'm not, I'm not sick.

ETHAN: Thank God. And once you've delivered you can go back to your friends and hopefully you'll stay that way.

CLAIRE: What if I want to see the baby?

ETHAN: Hey, nobody's going to take him from you unless that's what you want. You have a choice. We're good people, Claire. We're a good family. But if you're going to trust us with your child I want you to be sure. Okay?

[The camera moves around behind Claire and Ethan and we see present-day Claire looking on. Scene switches back to Claire on the island, in the rain.]

CLAIRE [dazed]: Sure.

KATE: There you are. Where are you going?

CLAIRE [walking]: I know this is it.

KATE: Claire!

DANIELLE: Leave her alone.

KATE: Excuse me!

DANIELLE: Let her look.

KATE: Look for what? Claire! Claire!

[Claire starts pulling at some branches and a tarp, uncovering a set of doors to another hatch. They open the doors and look into the dark interior.]

COMMERCIAL BREAK

[We see Claire, Kate and Danielle walking into the hatch down a ramp. Kate opens a small cabinet on the wall.]

KATE: Flashlights. The lights, I'm going to see if I can turn the power on. [to Claire] You okay?

CLAIRE: This way.

[Claire and Danielle enter the room that was the nursery and see outlines on the walls where decorations used to be. The lights come on, and we see the rocking chair has been left behind.]

DANIELLE: What is this place?

CLAIRE: It's where they were going to keep him.

[We see Kate enter a room with lockers. She opens one and finds raggedy clothes and the knit hat that Mr. Friendly was wearing when he kidnapped Walt. She opens a box in the locker and finds some theatrical glue and a fake beard.]

[In the nursery, Claire finds the bootie she knitted lying on the ground. Then she has a series of memory flashes and sees the teenage girl.]

YOUNG GIRL: Wake up.

CLAIRE: Who are you?

YOUNG GIRL: Shhh; he'll hear you. Look, you have to get out of here.

CLAIRE: Huh?

YOUNG GIRL: You have to get out of here, now.

CLAIRE: What? No, no, no, I can't leave.

YOUNG GIRL: Yes, you can.

CLAIRE: I can't leave. No. What are you doing?

[The girl gets Claire out of bed and brings her to the door. They see an operating room full of people.]

YOUNG GIRL: Don't scream. They're going to do it tonight.

CLAIRE: Do what?

YOUNG GIRL [closing the door]: Shhhh.

CLAIRE: What are you talking about?

YOUNG GIRL: You're going to die. They're going to cut him out of you. I can get you back to your camp, but we have to leave. Now!

CLAIRE: No, no, no, hey, you're lying. You're lying, okay. I'm sure about this, okay.

YOUNG GIRL [struggling with Claire]: Shhhh.

CLAIRE: Get Ethan, I want to talk to Ethan. Ethan wouldn't hurt me. Ethan wouldn't...

[The girl puts a rag over Claire's face which drugs her and makes her pass out.]

YOUNG GIRL: You'll thank me for this one day.

[We see more quick memory flashes, and see Claire holding the bootie in the medical hatch in present time.]

CLAIRE: It's here. The medicine's here.

[Claire and Danielle enter the exam room and find the cabinet with the vaccine lying face down on the ground. Claire tries to move it, but it's too heavy.]

CLAIRE: Help me. [Danielle doesn't respond] Help! Kate, come here, I need some help! [Kate enters] Help me open this.

KATE: What is it?

CLAIRE: It's in here. The vaccine's in here.

KATE: Okay, 1-2-3.

[They lift the cabinet up and open it, but it's empty.]

CLAIRE: It was in here. The vaccine was in here! The vaccine was in here! Where is it!! [to Danielle] You were bringing me back here -- where is it!! You know where it is, don't you? Tell me! Tell me where it is! Tell me!

[Claire remembers struggling with Danielle and then looks at Danielle's arm where she had scratched her.]

[We see Claire regaining consciousness in the jungle.]

CLAIRE: Ethan. Ethan. Ethan, I'm sure. Ethan. Hey, Ethan! Ethan! I'm sure. I want you to take the baby.

[Claire suddenly sees Danielle.]

CLAIRE: Who are you?

ETHAN [from a distance]: Claire!

CLAIRE: Yeah! I'm here!!

ETHAN: I can hear you, where are you?!

DANIELLE: Quiet.

CLAIRE: I'm here, Ethan!

DANIELLE: Be quiet.

CLAIRE: I have to give him to them.

ETHAN: Claire!

CLAIRE: I have to give him to them so he'll be safe, okay. Help! I'm here! Ethan!!

[Danielle puts her hand over Claire's mouth and struggles to drag her away. Claire falls and Danielle knocks her out with the butt of her rifle.]

[We see Claire and Danielle back in the medical hatch.]

CLAIRE: You weren't trying to take me back, were you? You were trying to save me.

DANIELLE: I carried you on my back to your camp. I left you where they would find you.

CLAIRE: I'm sorry. [Danielle turns to leave] Where are you going?

DANIELLE: You're not the only one who didn't find what they were looking for.

COMMERCIAL BREAK

[We see Kate, Claire and Danielle walking through the jungle.]

DANIELLE: This is as far as I go.

CLAIRE: Your baby -- was it a girl?

DANIELLE: Yes.

CLAIRE: What was her name?

DANIELLE: Alex, Alexandra.

CLAIRE: I remember a girl -- a girl with blue eyes. She helped me. She saved me, just like you did. She wasn't like the others. She was good.

DANIELLE: I'm sorry that you didn't find what you were looking for. I hope you're baby's not infected. But if it is, I hope you know what must be done. [she exits]

[We see Locke doing dishes in the hatch. Jack and Eko enter.]

LOCKE: Back for more tools?

JACK: He knows, John.

LOCKE: Well, there you go.

JACK [to Eko]: Be careful what you say to him. He's smart and curious. Just give us a shout when you're done.

LOCKE: If the alarm goes off, don't tell him what it's for.

EKO: What is it for?

[Locke opens the armory door and Eko enters.]

EKO [extending his hand to shake]: Hello. I am Mr. Eko.

GALE: Henry Gale.

EKO: Do you mind if I sit, Henry?

GALE: Okay.

EKO: How long have you been in here?

GALE: 2 days.

EKO: Are they treating you well?

GALE: Treating me well? I'm a prisoner; and I don't know why, or for what, or...

EKO: You are a prisoner because they are being careful. They are being careful because they believe you are lying.

GALE: Why would I lie? They think I'm one of these others -- other what?

EKO: Please, stop talking, Henry. The first night I spent on this island I was dragged into the jungle by 2 men. They never spoke a word to me, nor I to them. I killed these men -- smashed in their head with a stone, felt their blood on my arms. I need you to know how sorry I am for this. I need you to know that I am back on the righteous path now. And that I regret my actions. I ask you for your forgiveness.

GALE: Why are you telling me this?

EKO: Because I needed to tell someone.

[Eko pulls out a knife in a threatening manner, but uses it to cut off the 2 longer strands on his beard. Eko exits.]

[We see Jack at Claire's tent examining Aaron.]

JACK: He looks good -- fever's broken, the rash is even starting to fade.]

CLAIRE: Thank you so much.

JACK: I didn't do anything. I'll check back in a couple hours, okay? [he exits]

CLAIRE [giving Aaron the booty]: Look, Mommy made this for you when you were still inside her tummy. [she cries] You know, I wanted them to take you. But now I know that we're supposed to be together, you and me. We're supposed to take care of each other, okay. You're mine and I love you. I love you so much.

[Locke opens the door to the armory and brings Gale some food.]

GALE: No cheeseburgers, huh?

LOCKE: No cheeseburgers. Bon appetit.

GALE: Is that true -- what you said Hemingway?

LOCKE: You have good ears.

GALE: You have thin doors.

LOCKE: You read Hemingway?

GALE: Sure, guy ran with the bulls, fought in the Spanish Civil War, stuff I can wrap my brain around. This is I can't get through 5 pages of [indicating the Dostoyevsky novel].

LOCKE: Well, Dostoyevsky had his virtues, too. He was a genius, for one. Bullfighting isn't everything.

GALE: So, which one are you?

LOCKE: I'm sorry.

GALE: Are you the genius, or are you the guy who always feels like he's living in the shadow of a genius?

LOCKE: I was never very much into literary analysis.

GALE: I just don't understand why you let the doctor call the shots.

LOCKE: No one calls the shots. Jack and I make decisions together.

GALE: Right, okay. My mistake.

[Locke leaves the armory, starts to do the dishes, and then loses his temper, swiping all the dishes on the counter to the ground.]

[FLASHBACK]

[Scene open with the sounds of bombs dropping on an Iraqi compound. We see Sayid and other soldiers burning and shredding documents as they are thrown by the concussion of explosions.]

TARIQ [subtitled]: They're getting closer! Move it! Burn those! Shred faster! Hurry up! Sayid! Take these files! Burn them! Keep shredding you cowards! We leave when I say! [he strikes a soldier] Stop again, and I'll kill you myself! I'm your commanding officer and you will do --

[The U.S. Army suddenly breaks the door in.]

U.S. SOLDIER #1: Get down! Get the hell down!

SGT. BUCCELLI: Get down. Get down. You, no, no, no, drop your gun. On the ground now.

U.S. SOLDIER #2: Freeze! On the ground, now!

U.S. SOLDIER #1: Get the hell down!

[The Iraqi soldiers get down on the ground.]

SGT. BUCCELLI: Who's in charge here? I said, who's in charge? [he sees someone still burning papers] Somebody better tell him to stop, or god help me, he's dead.

U.S. SOLDIER #1: They don't understand, Sergeant.

SGT. BUCCELLI: They understand. Listen up, I'll fire on 3. 1-2...

SAYID [subtitled]: Stop shredding or they'll kill you!

SGT. BUCCELLI [to Sayid]: You -- you in charge?

SAYID: No, I am not.

SGT. BUCCELLI: Who is?

SAYID [after looking at Tariq]: There is no commanding officer here. He left two hours ago for, for Hila.

SGT. BUCCELLI: Your English is good, Abdul, but you're lying. And that ain't so good.

[Buccelli knocks Sayid out with the butt of his rifle.]

[We see shots of activity within the compound. And then a couple of soldiers making their way through a dozen or so prisoners kneeling inside a fenced area.]

SGT. BUCCELLI: That's him, Sergeant.

SGT. AUSTEN [to Sayid]: Let's go, hombre. [they start leading him out] Son, we don't want to be here any more than you do -- your pal, Sadaam, had to go marching into Kuwait -- here we all are. Buccelli here says that you speak English. Ever doing any translating?

SAYID: Formally, no.

SGT. AUSTEN: Hell, the fact you know what "formally" means -- we're good. Apache helicopter went down in this vector 2 days ago. Our sources tell us the pilot was captured. It's very important we that get this pilot back. We know that he was taken to the local Republican Guard intelligence commander -- a man named Tariq. Do you know him?

SAYID: Yes, he was our commanding officer.

SGT. AUSTEN: Do you know where he is?

SAYID: When the bombing started he fled to Hila.

SGT. AUSTEN: Hila, huh?

SAYID: Yes, that is right.

[They go through a door.]

SGT. AUSTEN: Welcome to Hila.

[We see Tariq sitting there.]

[Back on the island we see Sayid washing up. Ana comes running out of the jungle.]

ANA: Where's Jack?

SAYID: Why?

[We see Ana and Sayid running quietly through the jungle. Ana stops and points.]

ANA: There. See?

[We see Danielle walking through the jungle a short distance away.]

SAYID: Go back, I'll deal with this.

ANA: What?

SAYID: Go back, Ana-Lucia. And don't tell anyone what you saw.

[Sayid follows Danielle and gets in front of her so that she's surprised when she sees him.]

SAYID: What are you doing here, Danielle?

DANIELLE: Looking for you.

COMMERCIAL BREAK

SAYID: Where are we going? You said you were looking for me -- what was your plan -- to hide in the woods hoping I would pass you by?

DANIELLE: I was going to wait until dark and find you at your tent.

SAYID: Why? [he stops]

DANIELLE: We need to keep moving.

SAYID: Not until you tell me where we're moving to.

DANIELLE: Trust me.

SAYID: The last time we met you arrived to warn us the Others were coming which they weren't. In fact, it was a diversion to kidnap Claire's baby. So pardon me for not trusting you.

DANIELLE: This place I'm taking you to -- there's something that will help you -- something important. As for trust, take this. [she offers her rifle which Sayid takes] If I'm lying it's yours to use.

SAYID [checking to see if the rifle's loaded]: How much further?

DANIELLE: Not far.

[FLASHBACK]

[We see Sgt. Austen using Sayid as a translator with Tariq.]

SGT. AUSTEN: Ask him where he took the pilot.

SAYID [subtitled]: They want to know where the pilot is.

TARIQ [subtitled]: Tell him his mother is a goat.

SAYID: He says he does not know.

SGT. AUSTEN: Look, we know for a fact he interrogated the pilot day before yesterday. Hell, probably in this room. Tell him if we get our man back safe and sound, he goes free.

SAYID [subtitled]: They will let you go if you tell them where the pilot is.

TARIQ [subtitled]: You are a disgrace. You're an Iraqi soldier! Steal his gun and kill them all. Right there on his belt. You can get a few of them before you are killed.

SGT. AUSTEN: What's he saying?

SAYID: He says he does not know.

SGT. AUSTEN: I was born, but I wasn't born yesterday, son. Now, if you don't help me out here, someone else will take over. And that someone -- he won't play nice at all.

SAYID: I am sorry. He does not know.

SGT. AUSTEN [leaving]: Okay, you had your chance. Guards, lock him back up.

[We hear the sound of a frog and see Sawyer trying to sleep in his tent. He gets up, frustrated by the sound of the frog.]

SAWYER: This is unbelievable. [Jin happens by] Hey! Hey, you hear that thing? You hear that frog -- that frog? You want to help me find it?

[Jin gives him a dirty look, and walks away.]

SAWYER: What, we ain't friends anymore?

[We see Sawyer walking through the jungle looking for the frog. He comes across Hurley who's dipping a chip in some Dharma ranch dressing.]

SAWYER: What do you got there, Rerun?

HURLEY: Nothing. [Hurley covers up the dressing and some other food he has]

SAWYER: Yeah, well, you've got a spot of nothing on your chin there. [Sawyer uncovers the dressing] Dharma Initiative ranch dressing? You know you're supposed to refrigerate that after you open it.

HURLEY: Well, actually in the back it says it'll keep at room temperature for up to 7 years.

SAWYER [uncovering the rest of the food]: Well, well, look at who's got a secret stash?

HURLEY: Please, dude, you can't tell.

SAWYER: What, that you stole food from the group? Now why would I want to do that?

HURLEY: Come on, man, please?

SAWYER [hearing the frog]: Son of a bitch.

[Sawyer looks around for the frog while putting his hand on the gun in his waistband.]

HURLEY: Dude, it's just a tree frog.

SAWYER: Have you seen it?

HURLEY: Yeah.

SAWYER: Tell you what -- you help me find that thing, you can keep right on ranch dipping. We got a deal?

[We see Sayid and Danielle walking through the jungle.]

SAYID: How much further? [she doesn't respond] Danielle?

DANIELLE: We're here.

SAYID: And where exactly is here?

[Danielle uncovers a crossbow and some arrows she's hidden.]

SAYID: What is that for, Danielle?

[We hear a voice faintly in the background.]

VOICE: Help me. Hey, somebody here.

[Sayid immediately takes off toward the voice.]

DANIELLE: Wait.

VOICE: Help!

DANIELLE: Sayid, listen to me.

[We see someone hanging from a tree in a net trap.]

VOICE: Hey! Hey, over here. Please, help me.

COMMERCIAL BREAK

VOICE: Help me!

DANIELLE: Don't believe a word he says.

VOICE: Hey!

DANIELLE: He's one of them.

VOICE: I have no idea what she's talking about. She's crazy.

SAYID: How long has he been up there?

VOICE: Since last night. Please, just cut me down. My name is Henry Gale. I'm from Minnesota. Please.

DANIELLE: He's lying.

SAYID [pulling out his knife]: I'm going to cut him down.

DANIELLE: Don't.

GALE: Thank you.

DANIELLE: You're making a serious mistake.

SAYID [after cutting him down]: It's okay; it's okay. You're alright. Hold on. Take it easy.

[Danielle prepares her cross bow. Gale sees her.]

GALE [running]: No.

SAYID: Wait. Danielle, don't!

[Danielle shoots Gale in the shoulder. Sayid runs to him.]

SAYID: You could have killed him.

DANIELLE: If I wanted to kill him, I would have killed him.

SAYID: You shot this man with no provocation.

DANIELLE: He is one of them. Tie him up. You should take him to your doctor. He's no good to you dead.

SAYID [tying him up]: And then what?

DANIELLE: You talk to him, Sayid. As I recall that is what you do. But know this -- he will lie -- a long time. He will lie.

[Sayid starts carrying him back to camp.]

[FLASHBACK]

[We see Sayid, handcuffed, being taken by two soldiers to see Joe Inman, apparently a CIA operative.]

INMAN: I want to talk to you about your buddy Tariq. Look, I get it; you're a man who values loyalty. Even doing a little translating for us -- you feel like you're doing the wrong thing. I get that, and I respect it. This is what Tariq was doing before he took over command of your village. He was the head of the chemical warfare battalion in the North. [Inman starts playing a video tape] He personally supervised the use of sarin gas on this village. You recognize it, don't you? You had relatives in that village didn't you, Sayid? So, you know what sarin gas does. No discrimination -- the entire marketplace -- innocent women, children.

SAYID: Enough, please.

INMAN [turning off the tape]: Loyalty is a virtue. But unquestioning loyalty -- I don't think that's you.

SAYID: Why should I believe you?

INMAN: How do you think we knew you had relatives in that village? We liberated your personnel file, and Tariq's. [he shows the files to Sayid] All we want is our pilot back, so we can send him home to his family.

SAYID: Tariq will never talk to you.

INMAN: That's why you're going to have to make him talk to you.

[He gives Sayid a box.]

[We see Sayid in the hatch waking Locke.]

SAYID: John, John wake up.

LOCKE: What?

SAYID: Come out here.

[We see Locke and Sayid looking at Gale.]

LOCKE: Minnesota, huh?

SAYID: That's the question, isn't it?

GALE: Where am I?

SAYID: Who are you?

GALE: Henry, Henry Gale. Ah, my back.

SAYID: We're going to take it out, but first I want you to relax. How did you get to this island?

GALE: 4 months ago, we crashed on this island, my wife and I.

SAYID: Crashed in what?

GALE: A balloon. We were trying to cross the Pacific.

SAYID: Your wife, where is she?

GALE: She died. She got, she got sick 3 weeks ago. We were staying in a cave off the beach. Ah, my shoulder. At least untie my arms.

JACK [entering]: What the hell's going here?

SAYID: Rousseau trapped him in the jungle. She believes he's an Other.

GALE: An other what?

JACK: You shot him with an arrow?

SAYID: Do I have a bow?

JACK [to Gale]: Hey, hey, you with me? [to Sayid] What, you were just going to let him bleed to death?

SAYID: I was trying to get honest answers while he was able to give them. And his wound is far from life threatening.

LOCKE: We should let Jack treat him first, then we'll get our answers.

SAYID: Jack, do not untie him.

[We see Sawyer and Hurley walking through the jungle.]

HURLEY: This is how people get killed in scary movies.

SAWYER: If this was a scary movie I'd be with a hot chick not you, Barbar.

HURLEY: It's Babar.

SAWYER: Why don't you shut up, Hammo. Or your ranch disorder's going to be the new lead item on the coconut internet.

HURLEY: Fine, go ahead. Tell everyone the fat guy's been hiding ranch dressing -- the fat guy likes to eat. Yeah, I'm fat. Fat, fat, fat, fat, fat. You think I don't know that? At least people like me. You know what? Find the damn frog by yourself.

SAWYER: Hurley, wait, wait. Hey, Hurley wait. Look, man, I'm sorry, alright. This frog is killing me. You've got to help me out, please.

[We see Jack removing the arrow from Gale's shoulder, as Sayid and Locke watch from a small distance.]

LOCKE: So, what do you think?

SAYID: What do you think, John?

LOCKE: I think he's pretty convincing.

SAYID: Yes, he is.

LOCKE: The real problem is there's no way we can be sure he's telling the truth.

SAYID: That is not necessarily true. Does Jack have the combination to the armory?

LOCKE: For now he does.

SAYID: How long would it take for you to change it?

LOCKE: If you're angry -- looking for someone to punish...

SAYID: Why would I need to punish anyone? I want to find out who he is. I want the truth. And I think we both know that Jack will have issues with what must be done in order to get it. So how long, John, to change the combination?

LOCKE: Couple minutes, tops.

SAYID: Then I suggest you get started.

COMMERICAL BREAK

[Jack is still working on Gale. Sayid enters.]

SAYID: Did he say anything while...

JACK: No, he didn't. He was in shock.

LOCKE: We can't just leave him lying here, Jack -- if people see him it'll create a panic.

JACK: Yeah, well, where do you think we should put him?

SAYID: I say we put him in the armory, secure.

LOCKE: Better to err on the side of safety, Jack. At least until we can be sure.

JACK: Okay. For now.

[They carry Gale into the armory.]

JACK: We can pull that cot in here. He shouldn't be on his back.

LOCKE: Good idea.

[Sayid locks himself in with Gale.]

JACK [pounding on the armory door]: Sayid, hey, what the hell are you doing? Sayid! Sayid!

SAYID: What needs to be done.

[FLASHBACK]

[We see Sayid enter the room with Tariq carrying the box he got from Inman.]

TARIQ [subtitled]: They're letting you speak with me alone now?

SAYID [subtitled, opening the box]: You need to tell me where the helicopter pilot is.

TARIQ [subtitled, laughing]: This is their new bluff? That you're going to torture me? They think you will do this? Sayid, you are a loyal soldier. The son of a great hero. Do not disgrace your father! You wouldn't dare harm me! You will follow my orders as your commanding officer. Take that bag. Put it over your head and tape it up. Kill yourself, now! That's an order. Do it and die with what little honor you have left.

SAYID [subtitled]: You would have me take my own life -- the information means nothing to you!

[Tariq spits in Sayid's eye. Sayid picks up some pliers.]

[We see Inman pacing in his tent. Sayid enters. ]

SAYID: The pilot was executed 2 days ago. He's buried in a field 4 kilometers from here. I can take you there.

[Sayid hands the box to Inman and we see his bloody hand.]

[We see Jack unsuccessfully trying the combination on the vault.]

JACK: Damn it. Sayid, open the door! Sayid, answer me.

LOCKE: Jack.

JACK: Why isn't this combination working, John? Did you change it?

LOCKE: Yeah.

JACK: Why would you do that?

LOCKE: You're raising an army.

JACK: What?

LOCKE: And why you didn't ask me to help -- well, that's your business -- but there's only one reason to raise an army, Jack. And that's because we're at war. And like it or not, whatever Sayid has to do behind that door -- that's a part of it, too.

JACK: What if he's telling the truth, John?

LOCKE: What if he's not?

[We see Sayid tying Gale up in the armory.]

SAYID: Get up.

GALE: What's happening?

SAYID [making Gale sit up]: Here, let me help you. You said you've been here for 4 months.

GALE: What?

SAYID: You said you came to this island 4 months ago, yes?

GALE: Where am I?

SAYID: Please, answer my question.

GALE: Yeah, yes we landed 4 months ago. Maybe more. Who are you?

SAYID: And you were in a cave for all that time?

GALE: Off the beach on the North shore of the island.

SAYID: How far from this beach to where you were captured?

GALE: I don't know.

SAYID: How many days' walk?

GALE: 2 -- 2 days.

SAYID: Why did you stay on the beach for so long?

GALE: Why wouldn't we? We wanted to be there for fly-overs. We had an emergency beacon, a transmitter.

SAYID: What kind of transmitter?

GALE: An ADF beacon. We wanted to make sure we'd be spotted. Look, whatever you think I am, I'm not. Please, please just -- tell me your name.

SAYID: Your wife, what is her maiden name?

GALE: Murphy.

SAYID: Where did you meet her?

GALE: University of Minnesota.

SAYID: How did she die?

GALE: She got sick.

SAYID: She got sick?

GALE: It started as a fever. After 2 days she was delirious. Then she died. I don't know why you're asking me all these questions. I don't know why you're treating me this way -- why I have to explain to you who I am when you don't tell me who you are.

SAYID: I was 23 years old when the Americans came to my country. I was a good man. I was a soldier. And when they left I was something different. For the next 6 years I did things I wish I could erase from my memory -- things which I never thought myself to be capable of. But I did come to learn this -- there was a part of me which was always capable. You want to know who I am? My name is Sayid Jarrah, and I am a torturer.

COMMERCIAL BREAK

[Hurley and Sawyer walking through the jungle. We hear the sound of the tree frog.]

SAWYER: Where is it?

HURLEY: There it is.

[Hurley runs toward it, but trips and falls. Sawyer catches it.]

SAWYER: Gotcha.

HURLEY: Dude, nice catch.

SAWYER: Well, I'll be damned. All that noise from this tiny critter.

HURLEY: It kind of reminds me of a turtle I once had. Its name was Stuart. It ran off when I was 10. Well, that's what mom said. I kind of think she threw him out.

SAWYER [to the frog]: Well, you're a happy little fella, ain't ya?

HURLEY: I have an idea. Why don't I take him -- far from here -- 2 beaches away? Then maybe he'll find a Mrs. Tree Frog. That way he won't keep you up anymore, and everyone's happy.

SAWYER: Yeah, that's one idea. Here's another.

[Sawyer squishes the frog in his hand.]

HURLEY: Dude.

SAWYER: I hear with a little ranch they taste just like chicken.

[Sawyer hands the frog to Hurley.]

[We see Jack cleaning up the blood from working on Gale. Locke enters.]

LOCKE: Give you a hand? [Jack doesn't respond] Jack, I know this isn't...

JACK: Shut up.

[Jack starts to wash his hands and notices that the pliers he was using to remove the arrow are missing.]

JACK: Where are the pliers?

[We see Sayid in the armory with Gale.]

SAYID: Tell me about this balloon.

GALE: What?

SAYID: This balloon that brought you here with your wife. Tell me about it.

GALE: What do you want to know?

SAYID: Everything.

GALE: She's 140 feet high, 60 feet wide. And when she's up in the air 550,000 thousand cubic feet of helium and a 100,000 thousand of hot air keep her up. And if you could look down on her you'd see a big yellow smiley face on top.

SAYID: Why would you travel in that way?

GALE: Because I was rich. Because it was my dream. And Jennifer thought it would be neat.

SAYID: You "were" rich?

GALE: I guess I'm thinking of things in the past tense now. How's that for optimism?

SAYID: What did you do to become so rich?

GALE: I sold my company.

SAYID: What kind of company?

GALE: Mining.

SAYID: What did you mine?

GALE: We mined non-metallic minerals. I know, everyone wanted to talk to me at cocktail parties.

SAYID: Give me your hands. Give me your hands!

[Sayid puts the pliers around Gale's finger.]

SAYID: Where is she buried?

GALE: What?

SAYID: Listen to me. You said you buried your wife. Tell me where.

GALE: What are you going to...?

SAYID: Where!!

GALE: In the jungle. By the balloon, in the jungle.

SAYID: How deep? How deep did you dig the grave?

GALE: I don't -- it was...

SAYID: How deep? How many shovelfuls of earth? Did you use your hands? How long did it take you?

GALE: I don't remember.

SAYID: You would remember! You would remember how deep. You would remember every shovelful, every moment. You would remember what it felt like to place her body inside. You would remember if you buried the woman you loved. You would remember -- if it were true!

GALE: Did you -- did you lose someone? Did you lose someone here on the island? Did you lose someone, too? What happened to her?

SAYID: It was an accident. It was an accident. The woman responsible thought she was someone else -- someone coming to hurt her -- someone like you!

GALE: This is all a mistake. Slow down here, okay. Hurting me isn't going to bring her back.

[Sayid starts punching Gale repeatedly.]

SAYID: You know what I lost. Tell me how long.

GALE: No, no. Help! Help me!

SAYID: Tell me who you are.

[We see the door of the armory from the outside.]

JACK: Sayid! Sayid!

LOCKE: Jack.

JACK: Open it. Open it now, John.

LOCKE: Jack, this has to happen.

JACK [pushing Locke up against a wall]: Open that damn door, you understand me! You open it now.

LOCKE: No.

[We hear the sound of the timer alarm start.]

JACK: Now!

[Inside the armory.]

GALE: What do you want me to say? Whatever you want me to do, I'll do it. Please.

SAYID [still beating him]: I want you to tell me the truth.

[Outside the armory.]

JACK: The door.

LOCKE: Let go of me, Jack.

JACK: Or what? You want to push the button? Open the door.

[The timer alarm changes to a more insistent sound. We see the timer is now at 58 seconds.]

JACK: It's under a minute now, John. You better think fast.

LOCKE: You wouldn't.

JACK: What? I wouldn't what?

LOCKE: If we don't -- you would risk everyone's lives?

JACK: You talked me into pushing that button once, John, but it's yours now. You're the one who won't risk it, you. Me? I don't think anything's going to happen when we get down to zero.

LOCKE: Jack!

JACK: You want to see what's going to happen? Let's just see what's going to happen.

SAYID [from behind the door]: Who are you?!! Who are you?!!

[We see the timer is down to 27 seconds.]

LOCKE: Okay.

JACK: Okay.

LOCKE: Okay, right 15, left...

JACK: You think I'm stupid; you open it!

[Locke rushes to open the gun vault. And then rushes to enter the numbers. We see the timer at 10 seconds. Jack opens the door to the armory and wrestles Sayid out. Locke typed in 16 twice, instead of 15, 16 and has to backspace. The timer hits zero and starts spinning around. We hear sounds of something starting up in the hatch. The timer shows hieroglyphs in black and red. 4 of them lock in place. Locke enters the last number and hits execute before the last glyph locks. The timer resets and we hear a winding down sound.]

[In the background we can hear Sayid, Jack and Gale.]

SAYID: He's lying!

JACK: Not like this.

GALE: I'll tell you whatever you want.

[Scene switches to Sayid, Jack and Gale. Jack is wrestling Sayid away from Gale.]

SAYID: He's lying! He's lying!

JACK: That's enough!

[Jack closes the door and leaves Gale alone in the armory.]

COMMERCIAL BREAK

JACK [to Sayid]: What the hell was that?

SAYID: He is one of them.

JACK: Yeah? Did he tell you that?

SAYID: No.

JACK: Then how do you know?

SAYID: Because I know. He is one of them.

JACK: I think that Rousseau thought that about you once, Sayid. If I'm not mistaken she strapped you down, she shocked you, all because she thought you were one of them.

LOCKE: He is.

JACK: What?

LOCKE: He is one of them. To Rousseau, we're all Others. I guess it's all relative, huh?

[FLASHBACK]

[We see an Army convoy driving down a long barren road in Iraq. Sgt. Austen is looking at a photograph in a truck with Sayid.]

SGT. AUSTEN: You got a wife, kids?

[Sayid shakes his head. We see that Austen is looking at a picture of a younger Kate at a lake or river. The truck comes to a stop and they take Sayid out.]

INMAN [to a soldier]: I'll take him. [to Sayid] It's over. We're pulling out, not going to Baghdad. So your man Sadaam gets to stay in power which means you, in all likelihood, will remain in his employ. Guess you're lucky you have a new skill set you can use.

SAYID: What you made me do no human being should ever have to do to another.

[Inman pulls out a knife, but only uses it to cut the bindings on Sayid's wrists.]

INMAN [in Arabic, subtitled]: One of these days there will be something you need to know. And now you know how to get it.

SAYID: I will never do that again.

INMAN [giving Sayid money]: Yeah. Good luck to you, Sayid. Bus fare back to Ramadi. [to the truck driver] Let's move out.

[Back on the island we see Sayid sitting on the beach with Charlie.]

SAYID: There is a man down in the hatch. A stranger captured by Rousseau. I beat him. I beat him badly.

CHARLIE: Why are you telling me this, Sayid?

SAYID: Jack asked me how I knew -- knew for sure that this man was lying. How I knew for sure that he was one of them -- one of the Others. I know because I feel no guilt for what I did to him. But there is no way I can ever explain that to Jack, or even Locke, because both of them have forgotten.

CHARLIE: Forgotten? What?

SAYID: That you were strung up by your neck and left for dead. That Claire was taken and kept for days during which god only know what happened to her. That these people -- these Others -- are merciless, and can take any one of us whenever they choose. So tell me, Charlie, have you forgotten?

[We see Jack and Locke open the gun vault. Jack brings the gun case in the vault and opens it.]

LOCKE: Is that all of them?

JACK: All 6 of them. There's 1 box of ammo.

LOCKE: At least we don't have to worry about running out any time soon. Jack, I'm grateful that you decided to keep them all in the same place. [Jack notices the Virgin Mary statues] Oh, I had to take them from Charlie -- his heroin stash. I figure it might have therapeutic value, if it ever came to that.

JACK: You're just going to leave it all in the statues?

LOCKE: You want to break 7 Virgin Maries, be my guest. I'm superstitious.

JACK: John, the combination.

LOCKE: I'm going to go ahead and assume that you're asking me because you're worried that I might fall off a cliff or something -- that it would be irresponsible for just one of us to have access to this room -- rather than this being an issue of trust.

JACK: Well, there are a lot of cliffs on this island, John.

LOCKE: Alright, but I think we should agree, Jack, that if either of us need to open this door, we consult each other first.

JACK: Absolutely.

LOCKE: Right 7, left 33, right 18. You need to write it down?

JACK: Nope, I got it.

LOCKE: Alright. And, Jack, you may want to consider locking the medicine in here, too.

JACK: Why would I need to do that?

[Back on the beach, Sawyer is coming back to his tent from a swim and sees Charlie building a shelter nearby.]

SAWYER: Well, well, now look who had to relocate to the suburbs. [Charlie doesn't respond] Ain't that just like a woman? She keeps the house and you get the cheap-ass apartment. Man, I thought these people hated me, but I've got to hand it to you -- stealing a baby, trying to drown it -- now, that's a new low. You even made Locke take a swing at you. Hell, that's like getting Gandhi to beat his kids.

CHARLIE: Shouldn't you be more worried about Jack ransacking your tent right now?

SAWYER: What?

[We see Jack in Sawyer's tent, looking through his stuff.]

SAWYER: What the hell do you think you're doing?

JACK [holding an Rx]: You stole these from the hatch.

SAWYER: You stole them from me.

JACK: What?

SAWYER: They were in my stash when I left. I just took back what was mine.

JACK: These belong to all of us, Sawyer -- to the group. You don't have a stash anymore.

SAWYER: Seriously, Doc, you don't want to do this. Just give me the pills. We'll forget it ever happened.

JACK: Are you threatening me?

SAWYER: Last chance, Doc. [Jack walks away]

COMMERCIAL BREAK

[FLASHBACK]

[Sawyer is in bed with a woman, Cassidy.]

SAWYER: What do you want -- right now?

CASSIDY: Just you.

SAWYER [noticing the clock]: Oh, damn it!

CASSIDY: What is it?

SAWYER: I'm going to be late to that meeting I told you about.

CASSIDY: Meeting, huh? You got another date you could just say so.

SAWYER: I can only wrap my mind around one woman at a time -- but I appreciate the permission. Back in flash, gorgeous. [Sawyer grabs his suitcase and it opens, spilling out money.] You weren't exactly supposed to see that.

CASSIDY: Are you serious?

SAWYER: What?

CASSIDY: You're not serious. You just happen to have a suitcase full of cash? And you go to pick it up and the lock just happens to break?

[She grabs one of the stacks of money to examine it.]

SAWYER: Give me that.

CASSIDY: It's not even real. Newspaper? Are you trying to con me? What, I ask you what all the money's for and you do some song and dance about an investment or something? And then I say, "Oh, hey, I've got some money."

SAWYER: Look, you got me. Good for you. No harm, no foul.

CASSIDY: You should have done your homework. I didn't take anything from him in the divorce. I'm not even worth your trouble.

SAWYER: Well, shame on me.

CASSIDY: I want you to show me what you do. Show me what you do -- what you really do.

SAWYER: And what do I do?

CASSIDY: Show me how to con people, Sawyer.

[Back on the island we see Sawyer in his tent putting things in order after Jack's ransacking. Kate approaches.]

KATE: I like what you've done with the place.

SAWYER: Maid's day off. [He tries to pick up a shirt, but Kate's standing on it] You want to move?

KATE: I heard Jack took your pain killers.

SAWYER: Well, I guess me and the Doc are on the outs. One less Christmas card I'll have to send this year.

KATE [tossing down a magazine]: Maybe that'll cheer you up. It's from the hatch. I know you're hard up for new reading material.

[The magazine is a woman's magazine called Elegant.]

SAWYER: Well, as much as I'd like to learn to feather my hair, I lost my damn glasses on the raft. You want to read it to me? [Kate looks at him like he's crazy] What, you got an appointment or something?

KATE [finding an article]: Alright, 10 Ways To Tell If He's A Sensitive Man.

SAWYER: This ought to be good.

LOCKE [passing by]: Morning.

KATE: Hey, John.

SAWYER [suggestively]: Now, there's a sensitive man.

KATE: Claire asked him to sleep down here.

SAWYER: Come on. Locke's got himself needs -- just like anyone else.

KATE: Not everyone is like you, Sawyer.

SAWYER: I guess that's why old Jacko and Ana-Lulu didn't ask me to join their revolution. [Kate looks surprised] What, you didn't hear about their little army? I guess I'm not the only one on the outs with the Doc.

[We see Sayid shucking coconut husks on a stake. Hurley approaches.]

HURLEY: Hey, man. You gonna put the lime in the coconut, drink 'em both up? [Sayid doesn't respond] Lime in the coconut? The song?

SAYID: What do you want, Hurley?

HURLEY: So, I'm over at Rose and Bernard's tent -- did you know he's a dentist? Well, that's not all he's been holding out on us. The guy picked up Boone's signal from the Norwegian plane.

SAYID: Nigerian.

HURLEY: Right. Anyhow, he picked it up with this. [Hurley holds up a radio]

SAYID: That is a short wave radio. It's a glorified walkie-talkie.

HURLEY: Yeah, but can't you switch a blue wire with a red wire -- make it stronger.

SAYID: We tried to send a signal with the plane's transceiver and all we got was the French women's transmission on a loop. Why would I bother?

HURLEY: Come on, man, it's worth...

SAYID: It's worth nothing. It's a waste of time.

HURLEY: Just trying to cheer you up, dude.

SAYID: I don't need cheering up.

HURLEY: Okay, man. Sorry. No problem.

[Sayid notices that Hurley left the radio behind.]

[We see Ana trying to catch up with Jack in the jungle.]

ANA: Hey. [Jack doesn't respond] Hey.

JACK: Hey.

ANA: You get the combo? [Jack nods] Nice. I didn't think it would be that easy convincing your pal to give it up. That's the nice thing about you people -- you're not scared enough.

JACK: Not scared enough?

ANA: Same reason we can't talk anyone into joining the army. Everyone around here actually thinks they're safe.

JACK: Trust me, Ana. No one thinks we're safe.

ANA: So, Jack, what's the combo? [He looks at her suspiciously] I was just kidding.

[We hear the sound of thunder and see Sun working in her garden. She's alarmed by the sound of rustling in the bushes a couple of times, and then Vincent comes bounding out.]

SUN [relieved]: Oh, Vincent! What are you doing out here? [She says something in Korean]

[It starts pouring rain and a bag comes down over Sun's head. Her wrists are bound and she's dragged away.]

[We see Sawyer and Kate sitting outside Sawyer's tent. Sawyer scrambles to get under the tarp because of the rain.]

SAWYER: Oh, man. It's really coming down. Get under here, Freckles.

KATE: I like the rain.

SAWYER [dragging Kate into the tent]: Yeah, me too, if I'm under here.

[They hear screaming.]

KATE: That's Sun.

[Sawyer and Kate run through the jungle and find Sun unconscious.]

SAWYER: Is she alright?

KATE: She's breathing.

SAWYER: Go get Jack. Go get Jack!

KATE: Okay.

[Kate runs off and Sawyer carries Sun back to camp.]

LOCKE: What happened?

SAWYER: Where's Jack?

[Sawyer carries Sun to her tent and Jack arrives.]

JACK: Was she conscious at all? Did she say anything?

SAWYER: Nothing. Not a word.

JIN [running to the tent]: [Says something in Korean.]

JACK: She's okay. She's okay. She's going to be alright. You need to let me take care of her, alright. [to Sawyer] Where'd you find her?

SAWYER: I heard her scream. Found her out in the jungle about a half a click from here.

KATE: She was out cold and her hands were tied.

JACK: What do you mean, her hands were tied?

ANA: They're back.

COMMERCIAL BREAK

[We see a group standing on the beach.]

LOCKE: They told us they would leave us alone.

JACK: Well, John, it looks like they broke their promise.

LOCKE: We don't even know what happened.

JACK: Do we need to know?

ANA: Where'd you find her?

KATE: Just outside her garden.

ANA: We need to take a look around -- with guns.

LOCKE: No.

JACK: No?

LOCKE: If we arm up we're just as likely to shoot each other as we are one of them.

JACK: Okay, we'll wait for Sun to wake up. She'll tell us what happened. Then we're going to do something about it.

LOCKE: Sounds like a plan.

[We see Kate and Sawyer walking in the jungle.]

KATE: They usually don't leave any trail.

SAWYER: It's worth a look. Let me ask you something -- this whole scenario make sense to you?

KATE: What do you mean?

SAWYER: Think about it. First off, how'd she get away? The woman doesn't weigh 100 pounds soaking wet.

KATE: She was fighting for her life. People are capable of almost anything...

SAWYER: You couldn't get away. You versus Sun -- hot oil death match -- my money's on you, Sheena.

KATE: Thanks for your vote of confidence.

[Sawyer sees something on a branch.]

KATE: It's a hood, just like the one they put over my head.

SAWYER: No it's not. This one's black, different weave. It's all in the details -- and they're wrong.

KATE: Well, if it wasn't them, then who? [Sawyer doesn't respond] What are you saying, one of us did it? Who the hell would want to go after Sun?

SAWYER: Not much upside to scaring the crap out of 46 people -- unless you're trying to con them into joining an army.

[FLASHBACK]

[We see Sawyer writing $1299.00 and $1399.00 on price tags attached to some necklaces.]

CASSIDY: Those necklaces are junk, Sawyer. A 5 year old could tell that.

SAWYER: They ain't going to be looking at the necklaces; they're going to be looking at the price tags. It's all in the details, Dimples.

CASSIDY: What if we get caught?

SAWYER: We ain't going to get caught. [He puts a band aid across his nose] Anybody goes to the cops, the only thing they're going to remember is a guy that looks like he's been in a bar fight. You're scared, huh?

CASSIDY: A little bit.

SAWYER: Well, here's the good news, baby -- everybody's scared. The thing they're scared of most is missing an opportunity.

[We see a couple of guys getting gas, one of them coming out of the convenience store. Sawyer approaches unrolling a velvet carrying case for the necklaces.]

SAWYER: Hey, you guys want to buy some necklaces?

GUY: Where'd you get them?

SAWYER: Where do you think? You want to buy them, or not? [They look unsure] Oh, forget it. [Sawyer starts to leave]

CASSIDY [approaching]: Hey, how much?

SAWYER: 100 a piece.

CASSIDY: For any of them?

SAWYER: Yeah, yeah, taster's choice.

CASSIDY: I'll take the 1200 dollar one and the 1300 dollar one. Thanks. [She buys the two necklaces and Sawyer starts to leave]

GUY: Hey, wait.

GUY #2: Hang on, man. I'll buy some of those.

GUY: Yeah, me too. It's Gina's birthday next week.

GUY #2: They love their jewelry.

[Sawyer and Cassidy share a smile.]

[Back on the island Jack is taking Sun's pulse.]

JACK [to Jin]: Pulse is good. Strong. We just need to watch her. She's going to be okay, man.

[Jin holds Sun's hand, very concerned.]

[Jack goes to get some water, and Kate is waiting to talk to him.]

KATE: That bump on head -- do you think she fell or that someone hit her?

JACK: I don't know.

KATE: Jack, how well do you know Ana-Lucia? [Jack doesn't respond] It's just -- the Others, I -- I was out there with you. I heard that man say that if we stayed away they'd leave us alone. And we've left them alone. So why would they attack us a few days later?

JACK: Well, if it wasn't them then who was it?

KATE: Like I said, how well do you know Ana-Lucia?

[Jack walks away.]

COMMERCIAL BREAK

[We see Jack and Ana-Lucia walking on the beach.]

ANA: I got a couple more people interested in joining up.

JACK: Yeah, who?

ANA: Uh, the big guy who lives behind Sayid and Scott.

JACK: You mean Steve, Scott's dead.

ANA: Scott, Steve -- the point is, after what happened people are finally willing to do something.

JACK: Where were you this morning?

ANA: Lots of places.

JACK: During the rain storm.

ANA: You think I had something to do with Sun getting grabbed? Now where would you get an idea like that?

CLAIRE [entering]: Jack! Jack, Sun's awake.

[Jack arrives at Sun's tent as she's sitting up.]

JACK: How's your head? Any pain, dizziness?

SUN: Just a little bit.

JACK: Do you remember anything?

SUN: I was working in my garden when Vincent ran up. Then it started raining and there was a bag over my head and I was being dragged.

JACK: How many were there?

SUN: I didn't see anything.

JIN: [Says something in Korean.]

SUN: [Responds to him in Korean.] I kicked and I fought, and I just ran as fast as I could and I fell...

JIN: [Says something in Korean, clearly upset.]

SUN: [Responds to him in Korean.]

JIN: [Says something in Korean.] [to Jack] Gun. Gun! Gun.

[We see Sawyer watching from a distance. Kate approaches.]

KATE: Hey, what's going on?

SAWYER: It looks like the good folks of Island Town are about to form a posse -- get themselves armed up. Hell, I wouldn't be surprised if Jack didn't find himself that horse of yours and start leading the charge in a big white hat.

[Ana and Kate stare intently at each other.]

KATE: The guns. This is all her play to get her hands on the guns. Locke -- you need to go and tell him that they're coming.

SAWYER: I need to tell him?

KATE: Sawyer, please.

[FLASHBACK]

[We see Cassidy taking a shower and Sawyer brushing his teeth.]

CASSIDY: So what's next?

SAWYER: Next?

CASSIDY: Next play.

SAWYER: I'll show you the pigeon drop.

CASSIDY: We already did that - twice. And the Tulsa Bag Scam and the Lookie-Loo. I want to do a big one.

SAWYER: You want to do a big what?

CASSIDY: A big con.

SAWYER: It's called a long con.

CASSIDY: Okay, a long con. How does it work?

SAWYER: It works by getting someone to ask you to do something like it's their idea, but it's not their idea, it's your idea. But none of that matters because the one thing you need for the long con we ain't got -- money.

CASSIDY: I have money.

SAWYER: Sorry, Cassidy, 40 grand in a mutual fund ain't money.

CASSIDY: Remember when I told you that I didn't get anything from the divorce?

SAWYER: Mmmhmm.

CASSIDY: I kind of lied.

SAWYER: Kind of lied how much?

CASSIDY: 600 grand.

SAWYER: Well, hell baby, with kind of money let's go find an island somewhere and sit on a beach drinking Mojitos 'til we go toes up.

CASSIDY: Sawyer, for the first time in my life I'm actually happy. And it's not really about the action and the money; it's about doing this with you. Come on, one long con? And then the mojitos.

SAWYER: I'll think about it.

CASSIDY [dragging Sawyer to the bedroom]: Why don't you think about it in here?

[We see Locke in the hatch trying to find something in the pages of a book called Owl Creek Bridge. Sawyer enters.]

SAWYER: Hate to interrupt whatever the hell it is you're doing. What are you doing?

[We see a bunch of books thrown on the ping-pong table that Locke has presumably already looked through.]

LOCKE: I'm alphabetizing.

SAWYER: Oh, sure. Sun gets attacked in the jungle and you figure it's a good time to start the damn Dewey decimal system. Good thinking.

LOCKE: How can I help you, James?

SAWYER: Well, actually, John, I'm here to help you -- give you the heads-up.

LOCKE: Heads-up?

SAWYER: Seems Jack's on his way over here to open your little gun closet and take whatever he needs. You should know he's not alone. The whole camp's pretty shook up about what happened to Tokyo Rose. I'm guessing everybody's going to want to play Cowboys and Indians. And once those guns are out and about -- something tells me they ain't never going back in.

LOCKE: Why are you telling me this?

SAWYER: Because it'll piss off Jack. If I were you, I'd change that combination, pronto.

LOCKE: But that won't work. The door will just slow him down. If Jack wants to get in, he'll get in. Will you help me?

SAWYER: Help you what?

LOCKE: Move the guns.

SAWYER: Move them where? [Locke doesn't respond] Fine, you don't want to trust me -- lots of luck.

LOCKE: But I can't leave the hatch unmanned.

SAWYER: Sure, you move the guns and I'll stay here and push your damn button for you.

LOCKE: How long 'til they get here?

SAWYER: Well, that ain't my problem, Hoss; it's yours.

COMMERCIAL BREAK

[Sawyer is sitting in a diner at a table alone. The waitress approaches, but we can't see her face.]

DIANE: Steak sandwich, two beers.

SAWYER: Thank you.

GORDY [entering]: Aw, shucks, you got a beer for me?

SAWYER: Want one? Ask the lady.

GORDY [to Diane]: Well hell, I do want one. And could I get a plate of chicken salad -- white meat only -- and please, god, no celery, okay, sweetheart?

[Diane's face is revealed and we can see that it's Kate's mother.]

DIANE: That's how we make it here, darlin'.

GORDY: So, tell me you got her.

SAWYER: Yeah, I got her.

GORDY: All 600 grand?

SAWYER [looking uncomfortable]: All 6.

GORDY: You fell for her. Oh, come on, you've got to be kidding me.

SAWYER: Look, it's got nothing to...

GORDY: Hey, I found that bitch.

SAWYER: Her name is Cassidy.

GORDY: Well, I waited 6 months while you and Cassidy played house. Now, if you think...

SAWYER: I ain't doing it.

GORDY: You know what's making you stupid right now? It's your damn hormones. You think you're in love, but you're not. You know, a tiger doesn't change his stripes, James. You're a con man, just like me. And it's not what you do, it's what you are. Do I make myself clear?

SAWYER: I'm sorry, man. I just can't do it.

GORDY: No, you're going to do it -- because that girl, she doesn't know you one bit. But when she finds out who you are -- who you really are -- she's going to hate your guts.

SAWYER: Yeah, well -- enjoy your chicken salad, Gordy.

[Sawyer puts some money on the table and starts to leave.]

GORDY: Wait a minute, you don't walk away now. You owe me. You don't want to pay me? I'll put one in your ear, James. You or your little friend, Cassidy.

[We hear the sound of the timer alarm and see Sawyer open his eyes, apparently awakened. He inputs the numbers as Jack and Jin enter.]

JACK: What are you doing here?

SAWYER: One second, I'm like this close to the high score on Donkey Kong.

JIN: [Says something in Korean.]

SAWYER [as the timer resets]: Now, what can I do you for?

JACK: Where's Locke?

SAWYER: I don't know. I think he said something about going to the store for a pack of smokes.

[Jack opens the gun vault and sees it's empty.]

SAWYER: Uh-oh, it looks like we've got ourselves a theft. Who's going to call the cops?

JACK: Where are they?

SAWYER: Don't look at me; I was just pushing a button. [Throwing an Rx bottle to Jack] Oh yeah, I believe these are yours.

[Jack starts to go for Sawyer but Jin stops him.]

JIN: [Says something in Korean.]

[At night on the beach, we see Locke sitting near a fire. Ana is sharpening a stick. And Jack strides toward Locke.]

JACK: John, where are they? You moved the guns. Where are they? We had an agreement.

LOCKE: An agreement that you were about to violate, Jack. Yes, I moved the guns.

JACK: Where? Where? Where, John?

LOCKE: Are you going to start handing them out? How many? Who gets them? How much time before there's an accident? Another accident. I made a mistake teaching Michael how to shoot and now he's -- he could be dead for all I know -- and that, that was my fault. I take responsibility for that and so, yes, I'm taking responsibility for the guns, too.

JACK: I want 2 guns, John.

LOCKE: I'm sorry, Jack. That's the way it's going to be, Jack.

JACK: 2 guns. Now tell me where they are, right now!

[We hear the sound of 3 bullets being fired, and see people's frightened, surprised reaction. We see Sawyer walking into camp in the dark.]

JACK [to Locke]: You gave him the guns?

LOCKE [shocked]: No. I hid them.

SAWYER: That's right, Jack. He's as stupid as you are. You were so busy worrying about each other you never even saw me coming, did you? How about you listen up because I'm only going to say this once. You took my stuff. While I was off trying to get us help -- get us rescued -- you found my stash and you took it, divvied it up -- my shaving cream, my batteries, even my beer. And then something else happened, you decided these two boys here were going to tell you what to do and when to do it. Well, I'm done taking orders. And I don't want my stuff back. Shaving cream don't matter; batteries don't matter. The only that matters now are guns. And if you want one you're going to have to come to me to get it. [He looks at Sayid] Oh, you want to torture me, don't you? Show everybody how civilized you are. Go ahead, but I'll die before I give them back. And then you'll really be screwed, won't you? New sheriff in town, boys! You all best get used to it.

COMMERCIAL BREAK

[FLASHBACK]

[We see Cassidy at home with a briefcase full of money on the kitchen table. Sawyer enters from outside, quite agitated.]

CASSIDY: What's going on? Where were you? [Sawyer doesn't respond] Sawyer what happened?

SAWYER [looking out the window]: You see that black car?

CASSIDY: Who is it?

SAWYER: His name's Gordy, my partner.

CASSIDY: What partner?

SAWYER: If I don't walk out the front door with that briefcase in the next 2 minutes we're both dead.

CASSIDY: What happened? That's the guy from the Mercado deal? What...?

SAWYER: There is no Mercado deal. I knew about the 600 grand you had tucked away from the get go. Cass -- you were the long con.

CASSIDY [hitting him]: Son of a bitch. Go to hell. Go to hell.

SAWYER: You've got to understand, everything that's happened between us in the last 6 months, all of it -- that was real.

CASSIDY: Get out. You get out.

SAWYER: You can hate me all you want later, but right now you've got to listen to me. He's going to kill us -- because I told him I wasn't going to take your money.

CASSIDY: Oh my god.

[Sawyer looks out the window again, and then starts putting the money from the briefcase into a duffle bag.]

SAWYER: Okay, this is what we're going to do. I want you to go out back through Evan's yard. There's a rental car parked out front. Go to Sioux City. I want you to check in at the Sage Flower Motel, off highway 29. [He hands her the duffle bag] Watch TV, have a drink, and wait for me. I'll be there in the a.m.. It'll all be over.

CASSIDY: Let me just pack a few things.

SAWYER: There's no time. Remember when you said I was all you ever wanted? Well, now you know better. I love you.

CASSIDY: I love you, too.

SAWYER: Go. Go.

[Back on the beach we see Sawyer polishing his rifle. Kate approaches.]

KATE: How'd you do it?

SAWYER: How'd I do what?

KATE: Locke said that he left you in the hatch when he went to hide the guns, and we both know you can't track worth a damn. So, how'd you get them?

SAWYER: A magician never tells his secrets.

KATE: You played us. You played me. All that stuff you said about Ana-Lucia -- you knew I'd go to Jack; and you knew I'd ask you to go to Locke.

SAWYER: Now, how in the world would I know all that?

KATE: Did you have anything to do with Sun?

SAWYER: What kind of person do you think I am?

KATE: What kind of a person do I think you are? I don't think this has anything to do with guns, or with getting your stash back. I think you want people to hate you.

SAWYER: Good thing you don't hate me, Freckles.

KATE: Why do you have to do this?

SAWYER: You run. I con. Tiger don't change their stripes.

[We see Hurley sitting by a fire reading a manuscript entitled Bad Twin by Gary Troup. Sayid enters carrying a pole and the radio.]

HURLEY: Hey, check this out. I found a manuscript in one of the suitcases. It's like a mystery book.

SAYID: I want to show you something.

HURLEY: Cool, you fixed it.

SAYID: We'll see. [handing Hurley the radio] Hold on to this. Don't expect anything. The chances of getting a signal are slim at best.

[Sayid plants the pole in the sand and turns on the radio. We hear static.]

HURLEY: Static's good, right?

SAYID: No, reception is good.

[Sayid changes the dial and we hear Danielle's transmission.]

HURLEY: Wait, what's that?!

SAYID: It's Rousseau's signal.

HURLEY: Oh, crap.

SAYID [changing the dial]: But this radio has a wider bandwidth.

HURLEY: Hold it, stop! Do you hear that!

RADIO [with spotty reception]: That was the old classic Just A-Sittin' and A-Rockin' by Duke Ellington and his Orchestra, featuring Cootie Williams on the trumpet. Up next on WXR, the Glenn Miller Orchestra with Moonlight Serenade.

[The song begins to play with good reception.]

HURLEY: Whoa, you hear how clear that is? It's got to be close, right?

SAYID: Radio waves at this frequency bounce off the ionosphere. They can travel thousands of miles. It could be coming from anywhere.

HURLEY: Or, anytime. Just kidding, dude.

[We see Sawyer walking in the dark jungle and stopping. Charlie approaches.]

SAWYER: He never saw you, huh?

CHARLIE: No, he was more worried about his sodding guns than being followed.

SAWYER [offering a Virgin Mary statue]: Figured you'd want your friends back.

CHARLIE: If I wanted them I would have taken them before I told you where they were. That's not why I did it.

SAWYER: It's not, huh?

CHARLIE: I wanted him to look like a fool -- to feel like a fool.

SAWYER: Well, well, it looks like Johnny Locke's got himself a nemesis.

CHARLIE: Sun can never find out what I did to her. Never.

SAWYER: Don't sweat it. I've got bigger things to worry about now.

CHARLIE: Sawyer, this idea -- all of this -- what we did -- what made you -- How does someone think of something like that?

[FLASHBACK]

[We see Sawyer and Cassidy at the back door.]

SAWYER: Now go.

[Cassidy leaves and we see Sawyer get into the passenger seat of the black car parked in front. Sawyer looks to the driver's seat and we see there's no one there.]

SAWYER: 1-Mississippi, 2-Mississppi, 3-Mississipi, 4-Mississipi, 5-Mississipi.

[Sawyer goes back into the house and gets the "real" duffle bag out from underneath the kitchen table. On the way out the door he notices a picture of himself and Cassidy and turns it face down.]

[Back on the island we are still with Sawyer and Charlie.]

SAWYER: I'm not a good person, Charlie. Never did a good thing in my life.

[We see a close up on a painting (The Baptism of Christ by Verrocchio) and then the feet of a child in bunny slippers coming down stairs. It's Christmas morning and a young Liam is already opening presents. Young Charlie looks for a present to open but they all have tags that say Liam.]

YOUNG LIAM [opening a present]: Voltron, whoa!

YOUNG CHARLIE: Where are my presents?

MRS. PACE: Right over here, Charlie. [She removes some blankets and wrapping from a piano.]

YOUNG CHARLIE [excited]: It's a piano! This is mine?

MRS. PACE: Yes, Charlie. Father Christmas must have known how talented you are. [He gives her a big hug] You're special, love. Someday you're going to get us out of here, all of us. Now, go on, play us a tune.

LIAM [off camera]: Come on, baby brother. [Young Charlie looks and we see the adult Liam sitting under the Christmas tree playing with his Voltron transformer wearing a diaper] You can't save us if you don't play.

[We see adult Charlie now sitting at the piano looking confused.]

MRS. PACE: Come on, Charlie, play. Play me a tune. Come on now, let's hear it.

[Charlie turns to the piano and we hear a man's voice, off camera.]

VOICE: He ain't saving no one, he ain't. Music. Music will never get you anywhere, Charlie boy.

[Charlie looks and we see a man from the neck down, dressed as a butcher and chopping meat with a cleaver. In the background, a butcher shop is blended in with the living room. Liam is sitting on a couch playing with Voltron. The man then puts a baby doll on the chopping block.]

BUTCHER [pointing the cleaver at Charlie]: You need a trade.

CHARLIE: Dad?

[The butcher cuts the head off the doll.]

LIAM: Do it baby bro; save us.

MRS. PACE: Save us, Charlie. Save us.

[Charlie starts playing and we see a close up of his hands at the piano. We hear sounds of the ocean and as the camera zooms out Charlie is playing piano in the surf. We hear the sound of a baby crying and Charlie stops playing.]

CHARLIE: Aaron?

[The baby sounds seem to be coming from inside the piano and Charlie tries to open the piano lid but it won't open.]

CHARLIE: Aaron! Aaron! It's okay Aaron, it's alright.

[Suddenly Charlie sees the trees moving and stops to watch. The piano falls into the water and starts washing out to sea.]

CHARLIE: Aaron!! Aaron!!

[Charlie wakes up on the beach and runs to see if Aaron is okay. He sees the cradle at Claire's shelter is empty and runs over to Sun.]

CHARLIE: Sun! Hey, Sun! Have you seen Claire and the baby, they've gone.

SUN: They're right over there.

CHARLIE: Is Aaron okay?

SUN: Yes, he's fine. Charlie!? --

[Charlie runs off in the direction Sun pointed and sees Claire with Aaron at the shore. Locke enters and plays with the baby. Claire and Locke talk and laugh while Charlie looks on from a distance.]

COMMERCIAL BREAK

[We see Claire writing in her journal and rocking Aaron in his cradle.]

CLAIRE: It's okay, shhh.

CHARLIE [approaching with some homemade diapers]: Hey.

CLAIRE: Hey.

CHARLIE: I made Aaron some nappies this morning. [setting them down] I'll just put those there.

CLAIRE: Thanks.

CHARLIE [looking at Aaron]: Has he been asking about me?

CLAIRE: Charlie -- don't.

CHARLIE: I'm sorry. I should have told you about the statue -- what was in it. I just wish things could get back to the way they were before.

CLAIRE: There is no before, Charlie. We were strangers on a plane and we became friends.

CHARLIE: Now Locke's your friend, huh?

CLAIRE: Please, Charlie, just for now give me some space, okay?

CHARLIE: Yeah, space. [looking at Aaron] See ya, mate. Take care of your mom now, okay.

[FLASHBACK]

[Close up on a baby in a hospital nursery. Charlie is watching her.

KAREN [entering]: Charlie? Hey!

CHARLIE [hugging her]: Hey! What are you doing up? You should be lying down.

KAREN: I just needed to see her again. Isn't she brilliant?

CHARLIE: She's beautiful, Karen.

KAREN: I named her Megan. Where's Liam? [Charlie doesn't know what to say] He's not here.

CHARLIE: Karen, look, it wasn't his fault. We were leaving the club in Dresden -- I was in a cab -- he, he was in a van with the gear and they blew a tire on the way to the airport. He missed his flight. He's on the next plane, alright? He'll be here soon.

KAREN: But he's okay?

CHARLIE: He's great. He's a dad.

[We see Charlie at his apartment. He finds a cigarette burning on the piano.]

CHARLIE: Oh, for the -- Liam. Unbelievable. Liam?

[Charlie finds Liam passed out on a couch.]

CHARLIE: Liam, wake up! Oy, what the hell's wrong with you? [Charlie removes a tourniquet from Liam's arm] What the hell are you doing?

LIAM: Hey, baby brother.

CHARLIE: You're supposed to be cleaning up. Get up. I told Karen you missed your flight. She's all alone at the hospital and you're here fixing? What's the matter with you?

LIAM: I'm cool. I'm cool. I just needed to get right, that's all. [Charlie picks up the needle and drugs] Don't worry, I left you some.

CHARLIE: Get right? Why don't you get up? Take a shower, get dressed, get to the hospital.

LIAM: Alright. Alright, I'm on it. Alright.

CHARLIE: Oh, by the way -- you have a daughter. Her name's Megan.

LIAM [smiling]: After mum?

CHARLIE: Yeah, after mum. Now clean yourself up. You're a sodding father now.

[We see Kate helping Sawyer do some physical therapy for his shoulder. Hurley is sitting nearby.]

KATE: Easy. That's good. That was good. Okay, one more.

HURLEY: Uh, Sawyer, when you were over there across the island how well did you get to know those Tailies?

SAWYER: Well enough, why?

HURLEY: That Libby chick seems pretty cool. I mean, is she?

SAWYER: Well, you got a little love connection brewing over there, Jabba?

HURLEY: Nah, just asking.

SAWYER: I hear you asking.

HURLEY [leaving]: Forget it.

KATE [to Sawyer]: What's with you? You're acting like you're in junior high.

[Sawyer sees Jack and Ana coming out of the jungle.]

SAWYER: Well, what do we have here? It looks like Ana-Lucia is getting the 20 dollar tour. That's the third time I've seen them walking out of the jungle. [suggestively] What do you suppose they're doing out there?

KATE: Why don't you just do your exercizes, Sawyer.

[We see Charlie on the beach trying to tune his guitar.]

CHARLIE: Bloody hell.

[Suddenly Charlie hears Aaron crying and sees his cradle in the ocean.]

CHARLIE [yelling]: Hey! Hey! Somebody help me! I ca-- help!

[He looks around the beach but no one is there.]

CHARLIE [removing his shoes and shirt]: Help! The baby!

[Charlie swims out and gets the cradle.]

CHARLIE: Aaron. I'm coming. I'm coming, Aaron. Okay. Just hang on.

[He gets the baby out of the water and picks him up.]

CHARLIE: I've got you. It's alright. It's okay. You're okay now. You're safe. You're safe. It's okay.

[Charlie sees something confusing or frightening. We see his mother and Claire on the beach dressed and posed like the angels in the Verrocchio painting from his childhood home.]

CHARLIE [smiling]: Mom? Claire?

MRS. PACE [talking at the same time as Claire]: He's in danger. You have to save him. The baby's in danger. You have to save him. The baby's in terrible danger. He's in danger. You have to save him. He's in danger. You have to save him. Danger. You have to save him. He's in danger.

CLAIRE [talking at the same time at Mrs. Pace]: You have to save the baby. Charlie, only you can save him. The baby. You have to save the baby, Charlie.

[The women keep repeating the message while we hear the sound of the Nigerian plane that Locke heard in his dream. There is a flash of light and a dove flies through the tableau and out to sea. Aaron starts to cry. Suddenly Hurley comes out of the jungle dressed similar to John the Baptist in the Verrocchio painting.]

HURLEY: Charlie? What are you doing?

CHARLIE [looking confused]: What?

[Suddenly it's night time and Hurley is in his regular clothes.]

HURLEY: What are you doing, man?

CHARLIE: What's going on?

HURLEY: It's the middle of the night. What are you doing with the baby?

CHARLIE: I don't know.

CLAIRE [off camera]: Help! Somebody took my baby!! [someone asks what happened] I don't know, Aaron's gone.

HURLEY: It's okay! We're over here!

CLAIRE [running toward them]: Is he alright? Is he okay?

CHARLIE: Claire. I don't know what happened. I'm sorry. He's okay, though. I, I had this dream --

[Claire slaps him hard across the face, and leaves. Everyone that has gathered around leaves Charlie standing alone.]

COMMERICAL BREAK

[We see Hurley and Sawyer playing cards on the beach.]

HURLEY: Stick? I don't know, dude. Don't you need 21? I think you should hit.

SAWYER: But I've got a 6; I'm going to bust.

HURLEY: How do you know that?

SAWYER: Well, I don't, but you've got to assume that I'm going to bust.

HURLEY: Why?

[Sawyer looks slightly irritated, then he sees Libby carrying some clothes.]

SAWYER: Well, well, look who's off to the laundromat? Well, go on. I'm sure you've got a load you need to drop in, don't you, Jethro?

HURLEY: I'm kind of waiting for my moment.

SAWYER [standing up]: Well, your moment is now, Hoss. Hey Libby!

[Sawyer ducks inside his tent so Libby thinks Hurley called to her. Hurley waves.]

LIBBY: Hey yourself. [She exits.]

[We see Charlie standing in the jungle and hear the sound of the bunker door opening and Locke emerges.]

CHARLIE: Hey, John, can I talk to you for a second?

LOCKE: Yeah, what is it, Charlie?

CHARLIE: I take it you heard about what happened last night.

LOCKE: If you mean you taking the baby out of Claire's tent in the middle of the night -- yeah, I heard.

CHARLIE: This whole thing was a big misunderstanding, John. I was sleepwalking. I don't how or why --

LOCKE: Is there something you want from me, Charlie?

CHARLIE: I was hoping you could speak to Claire for me. You know, put in a good word.

LOCKE: Are you using?

CHARLIE: What?

LOCKE: Heroin. Are you using again?

CHARLIE: Kate sees a horse -- nothing. Pretty much everybody's seen Walt wondering around the jungle. But when it's Charlie it must be the bloody drugs, right?

LOCKE: It's funny, you didn't answer my question.

CHARLIE: You remember the plane, John? We burned it, Eko and me. We burned the whole thing -- the heroin, the statues -- it's all gone. Destroyed.

LOCKE: All of them?

CHARLIE: All of them.

LOCKE: Trust is a hard thing to win back. Claire needs time. You should leave her and the baby alone for awhile.

[FLASHBACK]

[We see the guys in Driveshaft wearing robes and sitting in director's chairs on a film set. Liam looks terrible.]

CHARLIE: Can you do this? You look green.

LIAM: Sod off. I'm fine.

DIRECTOR: All right, let's give this another go, shall we?

CHARLIE [to Liam]: Get it together, alright. Lest you forget, we need this.

DIRECTOR [to someone on the set]: Tea. [to the band] So, you lads ready?

CHARLIE: Yeah, we're ready. [to Liam] Let's go.

DIRECTOR: Let's try not to blow it this time, eh.

CHARLIE [to someone taking his tea]: Thank you. [to Liam] You good?

DIRECTOR: We've only 20 minutes until we're in overtime. Now get it right.

[The guys take off their robes to reveal that they're dressed in nothing but diapers, with giant pacifiers around their necks. They're in a giant crib holding packages of "bubbies" diapers.]

DIRECTOR: Alright. Camera. Rotate on the 8 count.

CREW: Rolling.

DIRECTOR: Hold the product up!

CREW: Bubbies diapers, take 53.

CREW: Playback.

DIRECTOR: And, action.

[You All Everybody starts to play, and the band does a little step-kick dance. Liam can't keep up. They sing "You All Every Butt-ies," and stick their rear ends through the slats of the giant crib. Liam falls down.]

DIRECTOR: Cut!

CHARLIE: It's alright.

DIRECTOR: That's it. We wrap.

CHARLIE: Oy, no! Oy, mate, hang on. Wait, what are you doing?

DIRECTOR: Let's not waste anymore time, shall we? You were only hired as a favor to your lawyer. I wanted Dirt [something I can't make out].

CHARLIE: Come on, mate. Give us another chance.

DIRECTOR: You want another chance? Take my advice; ditch that one [referring to Liam]. He's a bloody disaster.

CHARLIE: I'm not ditching anyone. He's my brother.

DIRECTOR: Right. Well then, I guess you're fired.

[Back on the island we find Hurley and Libby doing laundry in the hatch.]

LIBBY: Is this washer and dryer newer than everything else in here?

HURLEY: It washes clothes. That's all I need to know.

LIBBY: Ah, finally, someone who keeps it simple. Oh, hey, look at this. [She holds up a shirt] I got it in some of the abandoned luggage. You think I can pull this off? [Hurley just stares at her] Let me give you a hand -- when a girl asks that kind of question, she's looking for validation.

HURLEY [studying Libby's face]: Do I know you from somewhere?

LIBBY: You mean other than the flight?

HURLEY: Flight?

LIBBY: Okay, turn around.

HURLEY: Huh?

LIBBY: Turn around. I want to try it on. Turn around.

HURLEY: Oh, oh, sure, go ahead.

LIBBY: No peeking. [She starts changing] I cannot believe you don't remember stepping on my foot.

HURLEY: I did?

LIBBY: Yes, you did. And it was hard. I know that because I remember you were the last one on the flight, and you were all sweaty, and you had headphones on -- and crunch. You stepped on my foot. Okay, turn around. What do you think?

HURLEY: It's awesome.

LIBBY: Thanks.

[We see Eko marking an X on a tree. Charlie approaches.]

CHARLIE: What are you doing?

EKO: I'm marking trees.

CHARLIE: Why?

EKO: Because these are the ones I like.

CHARLIE: Did you tell Locke you gave me one of those statues from the plane?

EKO: Why would I do that?

CHARLIE: He knows, man. Bald wanker knows something.

EKO: Something wrong, Charlie?

CHARLIE: Apart from me losing my mind? No, everything's just peachy.

EKO: Why would you say you are losing your mind?

CHARLIE: How about the fact that I've been sleepwalking? Stealing babies from their cribs? Oh yeah, and then there's the vivid dreams that make me feel like I'm completely awake until, of course, I wake up.

EKO: What are your dreams about?

CHARLIE: Variations on Aaron being in mortal peril -- trapped in a piano, drifting out to sea, there's the flying dove, and Claire and my mum dressed as angels telling me I need to save the baby. [Eko is silent] What?

EKO: Have you ever considered that these dreams mean something?

CHARLIE: Like what?

EKO: What if you do need to save the baby?

[We see Charlie walking toward Claire's tent. Kate gets up to intercept.]

CHARLIE: I have to talk to her.

KATE: Hey, you know, now's not a good time. Okay?

CHARLIE: No, I have to talk to her. She'll want to hear this.

KATE [physically stopping Charlie from getting to Claire]: Okay, you know what, so tell me and I will tell her.

CHARLIE: Kate. No. Claire!

KATE: I said not now!

CHARLIE [pushing Kate aside]: Claire! Wait, please, Claire. Listen to me. Aaron's in danger.

CLAIRE: What are you talking about?

CHARLIE: The baby's in danger! Look, I've been having these dreams. I know what they mean now.

KATE: Charlie.

CHARLIE: Kate! Claire, listen, we have to baptize Aaron.

CLAIRE: What?

CHARLIE: We can do this! Eko's a priest! We can do this.

KATE [slightly pushing Charlie]: It's time to go.

CHARLIE: No, wait. I'm not finished. Claire, look, we have to baptize Aaron!

KATE: [pushing him harder]: I said it's time to go. Now.

[Camera pulls back to reveal Locke watching all this intently.]

COMMERCIAL BREAK

[Ana-Lucia is building a frame for a shelter. Jack approaches with a tarp.]

JACK [handing her the tarp]: Here. For when it rains.

ANA: Thanks.

[They drape the tarp over the frame.]

ANA: So when are you going to tell me what happened in the jungle?

JACK: I already did. Pull it tighter; it'll sag.

ANA: You told me what that guy said. You didn't tell me what made you turn around -- what made you come back.

JACK: He had a gun at Kate's head.

ANA: You hittin' that?

JACK: What?

ANA: Plane crash -- you both survive -- nice beach -- she's hot, you're hot. It's what people do.

JACK: I'm not hittin' that.

[We see Charlie go to his stash of Virgin Mary statues. He takes one out and breaks it open.]

[FLASHBACK]

[We see Charlie at his piano, composing. Liam enters.]

CHARLIE: Hey.

LIAM: Karen kicked me out, man.

CHARLIE: What? What happened?

LIAM: She, uh, she thinks I'm dangerous.

CHARLIE: Why would she think that?

LIAM: Because I dropped her. [crying] I dropped Megan.

CHARLIE: Oh. Hey, Liam, sorry.

LIAM: I've got no money. I've got nothing. What are we going to do?

CHARLIE: We'll get through this.

LIAM: Yeah, how's that?

CHARLIE: I'm writing again. I've got a new song. It's about 2 brothers.

LIAM: 2 brothers who should be butchers.

CHARLIE: Don't say that! It's a good one. I feel like this might be the one. Alright, listen to this, okay. [singing] Funny now, you finally see me standing here/Funny now, I'm crying in the rain. [Liam likes the song and joins Charlie at the piano] All alone, I try to be invincible/Together now [Liam joins in with a harmony], we can be saved. [Charlie stops playing] Nice, man.

LIAM: This could work.

CHARLIE: It's good, right?

LIAM: We could make it work. Write all night just like the old days.

CHARLIE: Alright.

LIAM: So, baby brother, have you got any?

[Back on the island, Charlie holds a couple of baggies of heroin in his hand.]

LOCKE [suddenly, off camera at first]: I'm disappointed in you, Charlie.

CHARLIE: You following me?

LOCKE: How long have you been coming out here?

CHARLIE: John, you've got the wrong idea, man.

LOCKE: You said you destroyed them all, and yet here they are. How is that the wrong idea?

CHARLIE: I came out here to finish the job. I'm going to get rid of these right now.

LOCKE: Yeah, that's very convenient now that I found you. [Locke goes to the statues with his pack.]

CHARLIE: What are you doing?

LOCKE [putting the statues in his pack]: There was a time when I let you choose whether or not you were going to do this to yourself. Now I'm making that choice for you.

CHARLIE: Oh, you don't believe me? Give them to me. Give them to me right now; I'll destroy them. Look. [He breaks up the baggies in his hand] I'll throw them in the sodding wind. Look, John, I know I lied, alright. [Locke starts walking away] Wait, wait, wait. Remember all those talks we had, you and me? You said everything happens for a reason -- this island tests us. That's what this is, John, at test. This is my test. That's why these are here.

LOCKE: These are here because you put them here, Charlie. [Locke starts to leave again.]

CHARLIE: Wait, John, wait. [Charlie grabs Locke's arm, and Locke angrily breaks free.] What are you going to do? Are you going to tell Claire? You can't. If she sees them, I'm done. She'll never trust me again, and she has to, John. It's about the baby, alright? Aaron's in danger. You have to believe me.

LOCKE: You've given up the right to be believed, Charlie.

COMMERCIAL BREAK

[We see Locke and Claire on the beach.]

CLAIRE: Hey.

LOCKE: Hi. How's our boy?

CLAIRE: Oh, he's good. Hey, John, can I ask you something?

LOCKE: Sure.

CLAIRE: Do you think Aaron and I could stay in the bedroom in the hatch for a while?

LOCKE: A pretty loud alarm goes off every hour and a half. It's not the best place for a baby to sleep through the night.

CLAIRE: Oh, yeah, sure.

LOCKE: How about if my move my stuff down here for a couple of nights -- set up right next to your tent?

CLAIRE: That would be great, thanks.

LOCKE: Consider it done.

CLAIRE: Hey, John, you don't know anything about baptism, do you?

LOCKE: Not a whole lot, why?

CLAIRE: Charlie came by my tent before and told me Aaron had to be baptized -- he was in danger.

LOCKE: My understanding is that baptism is about making sure that children get into heaven -- should anything happen. Call it spiritual insurance. There isn't any danger, Claire. Charlie is just [Locke looks in pack and sees the statues] -- Charlie just feels like he has to save the baby because he can't save himself. I'll see you tonight.

[Night time. We see Charlie walking through the jungle. He starts a fire and walks away. He comes across Sayid and a redshirt moving something.]

SAYID: Charlie, can you give us a hand?

CHARLIE [continuing to walk by]: Now's not a good time, Sayid.

SAYID [to the redshirt]: Here, let's lift this.

[Sayid sees the fire.]

SAYID: Fire! [He runs through camp] Grab tools, containers for sand, anything you have. If we don't stop it, it's going to burn right through the camp.

LOCKE [to Claire]: Stay here with Aaron.

[Everybody goes to put out the fire.]

SAYID: We need to cut a fire break right here. Form a bucket line.

LOCKE: Some of you people down to the water! [Locke grabs some buckets from a redshirt and runs to the shore] We'll hand them up, wait here.

[We see Claire watching from the beach. Charlie approaches from behind her.]

[FLASHBACK]

[Charlie arrives home to find his piano is gone.]

CHARLIE: Liam! My piano. What's going on? Liam, where's my piano?

LIAM: I sold it.

CHARLIE: You what? [Liam walks by and Charlie gets in his face] Hey, wait, I don't have to --

LIAM: [says something I can't understand]

CHARLIE: Where's the money? Is it up your sodding arm?

LIAM: I'm clean. I haven't used in two days.

CHARLIE: Two days? Well, happy anniversary!

LIAM: Well, how long have you been clean?

CHARLIE: Where's the money?

LIAM: She was going to leave me, Charlie. She was going to take Megan.

CHARLIE: What did you do, Liam?

LIAM: Karen's got an uncle in Australia. He's going to get me a job. There's a rehab clinic in Sydney. I just needed the money to get us there. I have to do this. I have to take care of myself for them -- for my family.

CHARLIE: I'm your family.

[We see Liam walking down a street with Charlie following behind.]

CHARLIE: Wait. Will you just wait.

LIAM: I can't, Charlie.

CHARLIE: What about the band? What about the song?

LIAM: Try to understand. I have to go. I have to. Look, I'll give you a call when things settle down for me. [He leaves]

CHARLIE: For you? What about me? What about my family? What about my family?!

[We see people working to put out the last of the fire. Charlie takes Aaron out of his cradle, and Aaron starts to fuss.]

CLAIRE: Charlie, what are you doing?!

CHARLIE: I'm doing what I have to do.

CLAIRE: He's got my baby!! Stop it!

CHARLIE: No, Claire, it's alright. It's not --

CLAIRE: Charlie, stop! Help! Somebody help! He's got my baby!!

[Locke hears this and runs to help.]

CLAIRE: Help! Come on, Charlie, please. Stop it.

CHARLIE: I just wanted to save him.

LOCKE: Charlie! Give me the baby.

[Everybody gathers around this confrontation.]

CHARLIE: Eko, tell them. Tell them, Eko. Tell them what you told me -- that the baby has to be baptized.

EKO: This is not the way.

LOCKE: Charlie, come on, give him to me.

CHARLIE: Who the hell are you, John? Aaron's not your responsibility. Where were you when he was born? Where were you when he was taken? You're not his father. You're not his family.

LOCKE: Neither are you, Charlie.

CHARLIE: I have to do this. I need to. I'm not going to hurt him.

CLAIRE: You're hurting me, Charlie.

[Locke takes the baby from Charlie and gives him to Claire who starts to leave.]

CHARLIE [trying to get to Claire]: Claire. I'm sorry, Claire.

[Locke suddenly punches Charlie, 3 times, very hard. Charlie goes down in the surf. Everyone starts to leave giving Charlie dirty/puzzled looks as they go.]

COMMERCIAL BREAK

[We see Charlie sitting on the beach as Jack approaches.]

JACK: You need stitches. [He starts working on Charlie's cut] Try to be still.

CHARLIE: I started the fire, Jack.

JACK: Yeah, I know.

CHARLIE: I was desperate. She --

JACK: I need to know you're never going to do anything like this again. Ever.

CHARLIE: I know what this looks like -- what people think. It doesn't matter now, but I didn't use. I wanted to. I really wanted to. But I didn't.

JACK: That's not what I asked, Charlie.

CHARLIE: It's not going to happen again.

[We see Eko walking through the burned out area left by the fire. Claire approaches.]

CLAIRE: Charlie told me you were a priest.

EKO: Yes.

CLAIRE: He said that you told him that I had to have --

EKO: I did not tell Charlie to do what he did. I'm sorry if he misunderstood me.

CLAIRE: But, do you think the baby has to be baptized?

EKO: Do you know what baptism is?

CLAIRE: It's what gets you into heaven.

EKO: It is said that when John the Baptist baptized Jesus the skies opened up and a dove flew down from the sky. This told John something -- that he had cleansed this man of all his sins. That he had freed him. Heaven came much later.

CLAIRE: I haven't been baptized. Does that mean that if you do it to Aaron and something happened to us that we wouldn't be together?

EKO: Not if I baptize you both.

[Montage: Locke changing the combination on the gun vault; Eko baptising Aaron and Claire; Locke putting the Virgin Mary statues in the gun vault; Charlie sitting by himself on the beach.]

[FLASHBACK]

[We see Jack and Christian Shepard examining x-rays of a spine in an office with two people seated at a table nearby.]

CHRISTIAN [whispering to Jack]: Look here and here. You can see it's rotting out the spinal [something] area, and plus all this extra dural growth -- I'm surprised it hasn't caused permanent ischemia.

ANGELO [in Italian]: Digli di smettere di bisbigliare. Non sono un idiota.[1]

GABRIELA [translating]: He says you don't need to talk in whispers. He knows he doesn't have a chance.

CHRISTIAN: Your father appreciates candor.

GABRIELA: We both do.

CHRISTIAN: Well, then tell him I'm very sorry but he's not a candidate for surgery. [Gabriela translates for her father: Papa, lui e come gli altri. Non lo fara.[2]] The way the tumor is situated on the spine, it's just not possible to remove it.

ANGELO [in Italian]: Non ci provera? Perche?[3]

GABRIELA: He wants to know why you won't try.

CHRISTIAN: Because what your father is looking for is not a surgical procedure. What he is looking for is a miracle.

ANGELO: Signore, non sono venuto fino a qui per lei. Sono venuto qui per suo figlio.[4]

GABRIELA: He said, "I did not come all this way for you, sir. I came for him [indicating Jack].

JACK: Ms. Bissone, I, uh...

GABRIELA: You fixed someone with a crushed spinal column -- an impossible surgery -- and now she walks, yes? I consulted many medical journals before making this trip here.

CHRISTIAN: Then you should know it's a very different case under very different circumstances.

GABRIELA: But a miracle, right?

JACK: Everything that my father's saying -- the risks, the unlikelihood -- he's absolutely right.

GABRIELA: But will you try?

JACK [taking a few moments to look at the x-rays]: I'll have to admit him in the next couple of weeks; run some tests.

ANGELO: La ringrazio... tantissimo.[5]

[Christian stares at Jack for a moment, then leaves.]

[We see Jack waking up in the bunk bed in the hatch, apparently a bit shaken by this flashback/dream. He gets up and looks around the hatch.]

JACK [calling out]: Locke!

[We hear a moan in the background and Jack finds Locke knocked out on the floor of the gun vault.]

JACK: John.

[We hear the sound of a gun and see Michael point a rifle at Jack.]

MICHAEL: Stay in there. Stay --

JACK: Michael, what are you--?

MICHAEL: Stay in there, Jack!

JACK: Hey, whatever's going on --

MICHAEL: Look, I'm going after my son. I'm going after my son, and nobody is going to stop me, okay? Okay, that is my right. That is a father's right.

JACK: There's another way to go about this --

MICHAEL: Get in the damn room!

JACK: You going to shoot me, Michael?!

MICHAEL: No, but I'll shoot your damn computer. That thing is not what you think it is anyway. You don't understand, man. You don't have any idea. Now get in there!

JACK: Michael, listen, we can do this together, okay? I'll come with you.

MICHEAL: No, I have to do it. Now. I have to do it alone.

[Michael closes the door of the vault.]

COMMERCIAL BREAK

[We see Locke coming to in the vault with Jack.]

LOCKE: What happened?

JACK: Michael knocked you out. Look over here [Jack moves his finger in front of Locke's eyes to check if he's okay.]

LOCKE: Why would he -- ?

JACK: He went after Walt. You feel nauseated, sick?

LOCKE: No, I'm okay.

JACK: Good. Give me a boost up.

LOCKE: It's no use. I bolted it shut from the inside.

JACK: You what?

LOCKE: No point in changing the combination if you can get in through the air vent.

JACK: That's really good thinking, John. You want to tell me why you let Michael in here?

LOCKE: He wanted a gun -- for shooting practice.

JACK: Shooting practice?

LOCKE [trying the door]: The button. How long was I out?

JACK: 20 minutes.

LOCKE: We're on shift for the next 4 hours; there's nobody coming down here.

JACK: Yeah, well, better hope Sawyer shows up to get his band-aid changed.

[We see Sawyer sleeping in an airline chair at the beach. Kate approaches and tosses a banana on Sawyer's chest.]

KATE: Morning.

SAWYER: Did you just throw a banana at me?

KATE: Couldn't find any rocks.

SAWYER [smiling]: There are nicer ways to wake a man up, Freckles.

KATE: Come on, it's time to go get your bandages changed.

SAWYER: Why can't you do it for me?

KATE: Because I'm not your nurse, and Jack's got the bandages.

SAWYER: Of course he does. [He struggles to stand up] You want to give me a hand?

[Kate helps to pull him up and they stand very close together looking at each other.]

SAWYER: Thanks.

KATE: Come on.

[We see Kate and Sawyer arrive at the hatch, closing the air lock door behind them.]

SAWYER: This place still creeps me out.

KATE: You'll get used to it. Where is everybody? Jack! John!

SAWYER: Maybe they went out for ice cream.

KATE [hearing some muffled cries]: Shhh. [we hear Locke say "Kate" and pounding sounds] Jack!

JACK: In here, in the armory. Michael locked us in here.

SAWYER: What'd he say?

KATE [hearing the timer start to beep]: I got it.

SAWYER: Hope you got the combo, Doc.

LOCKE: Right two times to 25.

SAWYER: 25, got it.

[We see Kate enter the numbers and reset the timer.]

LOCKE: Left two times to 29. Right once to 40.

SAWYER [opening the door]: Howdy, boys.

[Jack hands Locke a gun.]

LOCKE: What are you doing, Jack?

JACK: Going after him. [He grabs a rifle and exits the gun vault].

SAWYER: Hey, what --? What happened?

LOCKE: Michael went after Walt.

SAWYER: Went after Walt?!

JACK [putting supplies in a pack]: Pulled a gun on me, put us both in there, and went after Walt. [Sawyer walks back to the vault] Hey, what are you doing?

SAWYER: What does it look like? I'm coming with you.

JACK: You're still on antibiotics.

SAWYER: It's a good thing I'm traveling with my doctor, then.

[FLASHBACK]

[We see Angelo unconscious on a bed. Jack is looking at some monitors, and Gabriela enters.]

GABRIELA: How is he?

JACK: I thought you'd gone home.

GABRIELA: My home is a hotel room. I like it more here.

JACK: I think you need to find a better hotel.

GABRIELA: You didn't answer my question.

JACK: His counts aren't where I'd like them to be.

GABRIELA: You've been doing tests for a month now, Jack.

JACK: I'm thorough.

GABRIELA: I have a confession to make. I don't believe in miracles.

JACK: Yeah, I guess I'm not too sure about them, either.

GABRIELA: I bet your wife feels differently. Your wife, she's the woman you fixed, isn't she?

JACK: Yes.

GABRIELA: I'm thorough, too. She must be a very special person to let you work until 4:30 in the morning.

JACK [looking at his watch]: I completely lost track of -- I've got to -- will you excuse me?

GABRIELA: Yes, of course, go. And Jack, thank you.

JACK: Yeah, of course.

GABRIELA: Good night.

JACK: Good night.

[We see Sarah lying in bed in the dark with her eyes open as Jack arrives home.]

SARAH: Hey, how is he?

JACK: Hey, sorry to wake you.

SARAH: I had to get up anyway. So how is he?

JACK: About the same. Sarah, I'm sorry. I meant to -- I just got --

SARAH: Hey, that's the price of being a miracle-worker. [She gets out of bed.]

JACK: Where are you going?

SARAH: I have to go to the gym and then I've got some papers to grade. [Jack gets into bed and she sits down near him] I didn't want to say anything until I knew either way, but, um, I was late so I got a pregnancy test.

[Jack sits up and looks concerned.]

SARAH: Don't worry. It's negative.

JACK: Do you, um, want to talk about it?

SARAH: What's to talk about?

JACK: Sarah, I --

SARAH: See you later, Jack.

[We see a footprint in the jungle, with Locke examining it.]

JACK: Well?

LOCKE: Well, I can't tell you it's definitely Michael's, but it looks like his boot print.

KATE: There's one over here, too.

LOCKE: That sounds like a trail.

KATE [to Jack]: You got a gun for me?

JACK: You're not coming.

KATE: Excuse me?

JACK: You're not coming. Someone has to be here to take care of the button.

KATE: So why should that person be me? I can track, carry a gun --

JACK: You're not coming! You're staying. Alright?

[Sawyer pulls the slide on his gun.]

JACK [walking away]: Let's go.

[Sawyer gives Kate an apologetic look and follows Jack.]

COMMERCIAL BREAK

[We see the boys trekking through the jungle.]

SAWYER: What'd she do to you?

JACK: What?

SAWYER: Kate, what'd she do?

JACK: She didn't do anything.

SAWYER: Right, you're yelling at her because she wanted to help get Mike back makes a lot of sense.

JACK: Why don't you go back and see if I hurt her feelings?

SAWYER: I'm just saying.

JACK: Yeah, I know, you love her.

SAWYER: What'd you say?

[Locke stops and looks around.]

JACK: What?

LOCKE [to Sawyer]: Does any of this look familiar from when you were coming back?

SAWYER: Well, yeah, there's my favorite leaf. How could I forget this place?

JACK [to Locke]: What's wrong?

LOCKE [to Sawyer]: When you came across the island what side was the ocean on? [Sawyer looks around and points] You came from the east, Michael's heading north.

SAWYER: What the hell's that supposed to mean?

JACK: It means he's not going back to where you came from. He's heading somewhere else.

[We see Kate talking to Hurley on the beach, with Jin looking on. Sun approaches with a hat.]

SUN [subtitled]: The sun's very strong today.

JIN [subtitled]: I don't need a hat.

JIN [subtitled]: I think something's wrong [indicating Kate and Hurley].

[Kate and Hurley finish their conversation and Hurley walks toward Sun and Jin.]

SUN: Hello, Hurley.

HURLEY: Hey. Cool hat, dude. [Jin smirks]

SUN: Is Kate alright?

HURLEY: Uh, yeah. I guess Michael took off.

JIN [subtitled]: What's he saying?

SUN: What do you mean he took off?

HURLEY: He stole some guns and he went all commando. He said he was going after Walt. Later dudes, gotta get to the hatch.

[We see Jin putting supplies in a pack.]

SUN [subtitled]: What are you doing?

JIN [subtitled]: He said they just left. If I hurry I can catch up...

SUN [subtitled]: You're not going anywhere. [Jin starts to leave] Don't go! Don't walk away from me! While you were on that raft do you know how worried I was? I didn't know if you were dead or alive. I was out of my head. I won't go through that again.

JIN [subtitled]: Michael's my friend.

SUN [subtitled]: I'm your wife.

[Jin puts down his pack.]

[We see Locke, Jack and Sawyer walking through the jungle.]

SAWYER: Hey, Doc, you want to slow down -- take a break a minute?

LOCKE [stopping]: Good idea.

JACK: He still heading north?

LOCKE: Yep.

JACK: Do you think he's lost?

LOCKE: Doesn't seem to be -- trail's as straight as the interstate -- the path of a man who knows where he's going. [Locke stares at Jack a moment] Where are you going, Jack?

JACK: What?

LOCKE: Well, let's say we catch up with him, Michael. What are you going to do?

JACK: I'm going to bring him back.

LOCKE: What if he doesn't want to come back?

JACK: I'll talk him into coming back.

LOCKE: This is the second time he's gone after Walt. He knocked me out; he locked us both up. Something tells me he might be past listening to reason.

JACK: What? You think we should just let him go -- write him off?

LOCKE: Who are we to tell anyone what they can or can't do?

[We see Jack giving Gabriela some papers to sign in his office.]

JACK: It's not too late to go back. The tumor's aggressive, but your father could lead a very normal life for at least another year.

GABRIELA: Go back? Go back where? Home? Have you changed your mind, Jack?

JACK: No. [then more intently] No.

GABRIELA [signing]: Is that it? Even if you don't succeed, you're giving us a chance. That's all we wanted.

JACK: I'll come out and check on you before I scrub in.

GABRIELA: Okay.

[Christian enters the room.]

CHRISTIAN: Am I interrupting?

GABRIELA: No, I was just leaving. [to Jack]: I'll see you in the morning.

JACK: I'll see you in the morning. [Gabriela exits.]

CHRISTIAN [handing Jack files]: ITR reports need to be signed by you as Chief Resident.

[Jack notices Christian staring at him.]

JACK: What?

CHRISTIAN: Careful. There's a line, son. You know it's there. And pretending it's not -- that would be a mistake.

JACK: Guess you would know.

CHRISTIAN: It may be okay for some people, Jack. But not for you.

[Jack, Locke and Sawyer use some vines to pull themselves up a steep slope.]

SAWYER: Are you sure Mike went this way?

LOCKE: What do you ask?

SAWYER: Oh, I don't know, Mr. Clean, I probably would have gone around Mt. Vesuvius.

LOCKE: Why'd you pick that name?

SAWYER: Ain't it obvious? All you need's an earring and a mop.

LOCKE: No, your name. Why'd you pick Sawyer?

SAWYER: What do you mean, pick?

LOCKE: After the census Hurley gave me the flight manifest. Your name is James, right? James Ford.

SAWYER: What's it to you?

LOCKE: Just an interesting name to choose, is all. Who'd you get it from?

SAWYER: Who says I got it from anybody?

[Suddenly they hear gunfire.]

JACK [yelling]: Michael!

LOCKE [whispering]: Jack, get down.

JACK [taking off running]: Michael!

LOCKE [following]: Jack! Jack!

COMMERCIAL BREAK

[We see Jack, Locke, and Sawyer running toward the location of the gunfire.]

JACK: Michael! [stopping] Michael!

LOCKE [waving Jack to be quiet]: Jack. [Locke sees something].

JACK: What? [we see a bullet graze mark on a tree] He's close.

LOCKE: Yeah, and if he was shooting at someone you want them coming back?

SAWYER: Personally, hell yeah.

JACK: You said these people were two days across the island.

SAWYER: Yeah, and they took Cindy less than a mile from our camp.

LOCKE: Over here. [Locke finds some shell casings on the ground.]

JACK: Shell casings. How many?

LOCKE: 3, Michael's.

SAWYER: You boys deaf? I heard at least 7 shot. You heard, Danielle Boone, what's your count?

LOCKE: Yeah, 7 sounds about right.

SAWYER: It's getting dark. Which way did Mike go?

[Locke looks for the trail. Jack stares at Sawyer.]

SAWYER: What?

JACK: You out here for Michael, or is this pay back for getting shot?

SAWYER: Why are you out here, Doc? You got your reasons and I got mine.

[FLASHBACK]

[We see Jack, dressed in scrubs, angrily banging against some lockers in a room in the hospital.]

CHRISTIAN: Jack. Jack!

JACK: I had it!

CHRISTIAN: I know, son.

JACK: I got it. I got it all. I mean, I had it!

CHRISTIAN: He was a sick old man on a table for 7 and half hours. His heart gave out; it's nobody's fault.

JACK: I've got to go tell her.

CHRISTIAN: Yeah, well, I've already done that. [Jack looks at him angrily] Lest you forget I am still Chief of Surgery.

JACK: Where is she?

CHRISTIAN: Maybe you should go home.

JACK: Where is she?

CHRISTIAN: She's gone. Jack, go home.

[We see Jack walking out to his car in the parking lot. Gabriela gets out of her car nearby.]

GABRIELA: Jack?

JACK: Gabriela, my father told me that you'd gone. I, uh -- I, uh --

GABRIELA: Thank you. Thank you for trying. [she starts crying.]

JACK [hugging her]: I'm so sorry. I'm sorry. I'm so sorry.

[They kiss and then Jack pulls away.]

GABRIELA: It's okay.

JACK: I, I'm -- I can't. [he walks away]

[Back on the island we see Jack lighting some torches.]

SAWYER: What do you mean you lost it?

LOCKE: He's a man, not a boar. The sign's more subtle; I need light to follow it.

JACK [giving torches to Locke and Sawyer]: Here, light.

LOCKE: I think we'd better head back.

SAWYER: What?

JACK: Just find the trail, John.

LOCKE: I've lost the trail.

JACK: You don't just lose a trail! You just don't want to find him.

LOCKE: Yeah, that's right, Jack. I've been running in the jungle toward the sound of gunfire because I don't care about Michael. [Locke starts walking away.]

JACK: Don't turn around on me, John.

LOCKE: You're not going to get him to come back and you know it.

JACK: You know what happens if we just turn around and go back? We're never going to see him again. And that's going to be on us -- on you, and on me.

MR. FRIENDLY [off camera at first]: You're exactly right, Jack. But if I were you, I'd listen to Mr. Locke.

COMMERCIAL BREAK

[Locke, Jack and Sawyer all have their guns drawn on Mr. Friendly.]

JACK: Who are you?

SAWYER: He's the son-of-a-bitch that shot me on the raft. [Sawyer moves forward, looking like he's going to shoot.]

MR. FRIENDLY: Why don't you point the gun down?

[Sawyer is suddenly shot, the bullet apparently grazing his ear or neck as he's not seriously hurt but his hand comes away with blood on it. Jack and Locke look around trying to figure out where the shooter is.]

MR. FRIENDLY: It'd probably be best if we just keep our hands at our sides, gentlemen.

JACK: Where's Michael?

MR. FRIENDLY: Don't worry about Michael. He's not going to find us.

JACK: What do you want?

MR. FRIENDLY: Why don't you build us a fire, John? I think it's time we all had a talk.

[We see an album cover for Geronimo Jackson. Hurley and Charlie are looking through the albums in the hatch.]

HURLEY: Geronimo Jackson?

CHARLIE: Well, hooo, as an expert in all things musical -- I've never heard of these guys, shocking as that may be. Geronimo Jackson?

HURLEY [holding a different album]: This looks sweet. Let's give her a rip.

[Charlie puts the Geronimo Jackson record down and puts the other album on the turntable.]

HURLEY: So what do you think's the story with that Libby chick?

CHARLIE: The story?

HURLEY: She's kind of cute, right? You know, in a I've-been-terrorized-by-the-Others-for-40-days kind of way.

CHARLIE: Yeah, there is that.

HURLEY: I think I have a chance with her. I mean, it's the classic desert island scenario. If I ever had a shot, this is it.

CHARLIE: Do you think Claire's missed me yet?

HURLEY: Dude, it's been a day.

SAYID [entering]: This music is quite depressing.

HURLEY: We can change it, dude. Ever hear of Geronimo Jackson?

SAYID: I'm afraid not. Where's Jack and Locke?

HURLEY: Oh, they went after Michael.

SAYID: Michael?

CHARLIE: Yeah, he's run after Walt again. Everyone's gone to bring him back.

SAYID: Who's everyone?

HURLEY: Everyone -- Jack, Sawyer, Locke. Oh, and Kate.

[Jack, Sawyer, Locke and Mr. Friendly around a fire.]

MR. FRIENDLY: Just sit down, Jack. Nobody's going to hurt you. I come in peace.

LOCKE: How do you know our names? [Mr. Friendly just smiles.]

JACK: You took Walt.

MR. FRIENDLY: Walt's fine. He's a very special boy.

JACK: Look, you said you wanted to talk. Talk.

MR. FRIENDLY: Let me ask you something. How long you been here on the island?

JACK: 50 days.

MR. FRIENDLY: Oooo, 50 days. That's what -- almost 2 whole months, huh? Tell me, you go over a man's house for the first time, do you take off your shoes? Do you put your feet up on his coffee table? Do you walk in the kitchen, eat food that doesn't belong to you? [he looks at Locke] Open the door to rooms you got no business opening? You know, somebody a whole lot smarter than anybody here once said: "Since the dawn of our species man's been blessed with curiosity." You know the other one about curiosity don't you, Jack? This is not your island. This is our island. And the only reason you're living on it is because we let you live on it.

JACK [smiling broadly]: I don't believe you.

MR. FRIENDLY: You don't believe what?

JACK: I think you've got one guy up there with a gun. I think there's more of us than there are of you. I think if you had any real strength, you wouldn't have had to send a spy -- Ethan.

MR. FRIENDLY: That's an interesting theory. [suddenly yelling and raising his arms] Light 'em up!

[Torches are suddenly lit and the group is surrounded by people just out of sight.]

MR. FRIENDLY: We've got a misunderstanding, Jack -- you're people, my people. So listen carefully. Right here there's a line. You cross that line, we go from misunderstanding to something else. Now give me your weapons, turn around, go home.

JACK: No.

LOCKE: Jack, maybe --

JACK: No!

MR. FRIENDLY: I hoped it wouldn't come to this. [yelling] Bring her out, Alex!

[We see Kate, bound with a bag over her head shoved toward Mr. Friendly.]

MR. FRIENDLY: She was following you. Like I said -- curiosity. [He pulls the bag off her head.]

[Jack looks angry. Sawyer makes a move toward them, but Mr. Friendly draws a gun and puts it to Kate's neck.]

MR. FRIENDLY: Jack, the decision you gotta make right now is this -- can you live with the fact that I shot this woman right in front of you when you could have saved her life by giving up and going home? Or are you going to give me your guns, turn around and walk away. It's your call, Jack.

SAWYER: You touch a hair on her head, I'll --

MR. FRIENDLY: Shut up! I'm going to count to 3. 1-2 --

JACK: Stop.

[Jack throws his weapons down.]

MR. FRIENDLY: Now them.

[Locke throws his weapon down.]

MR. FRIENDLY: Give me the other one, too.

[Locke takes a gun from his pocket and adds it to the pile.]

SAWYER [to Mr. Friendly]: You and me ain't done, Zeke.

[Mr. Friendly grabs the guns and lets Kate go. The torches go out simultaneously and Mr. Friendly walks away. Sawyer unties Kate.]

KATE: Jack, I, uh --

JACK [cold]: You alright?

KATE: Yep.

COMMERCIAL BREAK

[We see Jin sitting alone on the beach. Sun approaches and sits with him.]

SUN [subtitled]: What are you doing out here alone?

JIN [subtitled]: I couldn't sleep.

SUN [subtitled]: Are they back?

JIN [subtitled]: Not yet. Honey... I don't like being told what to do.

SUN [subtitled]: Being told what to do was my life for four years... I didn't like it much either.

JIN [subtitled]: Right. I don't suppose you did. [He moves closer and puts his arm around her.]

[Jack, Sawyer, Locke and Kate walking back to camp.]

KATE: I was just trying to help, Jack. When you told me not to go, I just -- I made a mistake. [Jack doesn't respond] Hey, could you just talk to me for a second. I'm sorry.

JACK: Yeah, I'm sorry, too.

[FLASHBACK]

[Jack arrives home to find Sarah clearing dishes from the table.]

JACK: Hey.

SARAH: Hey. How did it go?

JACK: He died.

SARAH: I'm sorry.

JACK: Yeah, me too. Who was over?

SARAH: My mom.

JACK: The bridge game okay?

SARAH: Oh yeah, she's on a streak. Did you eat?

JACK: Yeah. No, it's uh, it's late.

[Jack joins her at the sink to help with the dishes.]

SARAH: You don't have to do that.

JACK: It's therapeutic -- cheaper than a shrink.

SARAH: How did the daughter take it? What's her name, Gabriela?

JACK: She kissed me. Yeah, she kissed me and I kissed her back. I, I don't know. I don't know how it happened. I made a mistake. I made a mistake and this is my fault. It's my fault that you and me -- I haven't been here. Sarah, I mean, we don't even talk anymore. I hate what's happening to us and I promise you that things are going to be different. I'm going to, I'm going to work less. I'm going to be here for you. Okay? I'm going to fix this. We're going to go back to the way things were. I'm going to fix this. I'm going to fix this.

[Jack hugs Sarah. She cries, but doesn't hug him back. She breaks away after a moment.]

SARAH: Jack. Jack, I'm leaving you.

JACK: What?

SARAH: I was already leaving you. That's why my mother was here. She was helping me pack. I've been seeing someone -- someone else. I have to -- I can't stay.

JACK: Sarah.

SARAH: You, you will always need something to fix. Goodbye.

[We see Jack and the others arrive at the beach. Kate follows close behind Jack and wants to say something but he pays no attention and keeps walking. Kate stops, and Sawyer stops beside her.]

LOCKE: See ya, James.

SAWYER [to Kate]: Don't beat yourself up, Freckles. If he'd told me to stay behind, I'd have done the same damn thing.

[Locke walks by Claire who's holding a fussy Aaron.]

LOCKE [to Aaron]: What's the matter? What's the matter with your little foot? Hi. Hi.

CLAIRE [to Aaron]: Who's that? [The baby starts fussing more.]

LOCKE: Uh-oh, you don't like old Uncle Johnny.

[Charlie is looking on, disturbed.]

CLAIRE: What is he doing to your toe?

[Jack approaches Ana sitting near her shelter with Vincent.]

ANA [to Vincent]: Hey, go away. I barely have enough food to feed myself. [she cuts off a piece of mango and throws it so Vincent will chase it.] Here.

JACK: I see you found a new friend.

ANA: Progress. I hear you were out looking for Michael.

JACK: Yeah.

ANA: He ran off looking for his kid again? [Jack nods] Not much you can do about that then.

JACK: Is it true that you killed one of them?

ANA: One of who?

JACK: Them. [Ana nods] Sayid tells me that you're a cop.

ANA: I was a cop.

JACK: Can I ask you something?

ANA: Shoot.

JACK: How long do you think it would take to train an army?

[A shirtless Jin comes out of his tent followed by Sun who snuggles against his back. Hurley comes out of his tent nearby, and gives Jin a thumbs up for getting some. Sun sadly watches Sayid digging Shannon's grave. Scene switches to Jack changing Sawyer's bandages.]

JACK: Sorry, man, I know this hurts. Michael told me you pulled the bullet out with your bare hands. You'll have to show me how to do that sometime.

SAWYER [whispering]: Where is she?

JACK: What? I didn't...

SAWYER [whispering]: Where is she?

JACK: You mean Kate. She's been watching over you for the past 24 hours straight. The only way I could get rid of her was to send her out to get some food for you.

SAWYER [whispering]: I love her. I love her.

[Jack sits down looking disappointed.]

[Kate is gathering mangoes in the forest and almost falls from the tree. She sees a black horse which trots off.]

[FLASHBACK to Kate sitting outside a house playing with a Zippo lighter. A truck pulls up playing country music and a drunken guy, Wayne, gets out.]

WAYNE: Well, heya, girl. What are you doing here? [He grabs onto Kate] Hey, there.

KATE [annoyed]: Alright, let's get you to bed. [She helps him to the bed as he stumbles around] Watch your step, watch your step.

WAYNE: What the hell is that smell?

KATE: Probably your breath.

WAYNE: Sha, right.

KATE: Come on.

[She puts him in bed and takes off his shoes.]

WAYNE: You're beautiful. Hey. Hey! I just gave you a compliment.

KATE: Yeah, I heard you. [Kate puts a blanket on him]

WAYNE: Aren't you going to take my pants off first? [He grabs her arm] You are beautiful.

KATE [jerking away]: Goodnight.

[We see Kate exiting the house and getting on a motorcycle. She hesitates a moment and rides off. The house explodes.]

COMMERICAL BREAK

[Kate enters a coffee shop and we see her mother, Diane.]

DIANE: Coffee, pie, both?

KATE: How about a beer?

DIANE: I'd like to see some I.D.

KATE: I'm 24, Ma.

DIANE: You want to ride around on that on that deathtrap of yours without a helmet -- I'm not going to help your cause by getting you drunk.

KATE: How's that wrist?

DIANE: What, this? No, that shelf in the kitchen sticks out sometimes. You'd think I'd remember it was there, but I banged it.

KATE: Don't.

DIANE: I made my bed, Katherine.

KATE: Well, your bed's gone, Ma.

DIANE: What?

[Kate hands her an envelope.]

DIANE: What is this?

KATE: An insurance policy for the house.

DIANE: What? I never...

KATE: I took it out in your name.

DIANE: What did you do? Does Wayne know about this?

KATE [leaving]: Just remember that you were here and you didn't see me, okay.

DIANE: Katherine! What did you do?

KATE: I took care of you, Ma. I've got to go and you're not going to see me for awhile.

[Kate hugs her and leaves.]

DIANE [calling after her]: Katherine, what did you do? Katherine!

[Kate in the hatch returning from her fruit gathering trip.]

KATE: Hey.

JACK: Hey. You okay?

KATE: Yeah. Yeah, I think I'm just -- I think I'm tired. How is he?

JACK: His fever's still up there. I can't tell if the anti-biotics are working. It'll help to get some food in him. You should get down to the beach for -- for Shannon.

KATE: I was actually thinking that I should stay and watch Sawyer.

JACK: I'll stay with him.

KATE: You should be there.

JACK: Keep him hydrated -- maybe mash up some of that fruit and see if you can get him to eat it. And everybody'll be at the beach so don't forget the button.

KATE: I got it.

JACK: I'll be back in a couple of hours. You're sure you're okay?

KATE: Yeah, I'm great.

[Ana banging a stake into the ground as Eko approaches.]

ANA: Hey.

EKO: I'm going to go to the funeral.

ANA: I don't think I'm going to make it.

EKO: I think most of them realize it was an accident, Ana.

[At Shannon's funeral.]

SAYID: Shannon and I were strangers. We never would have met if -- We wouldn't even have spoken if -- But we did meet and we did speak. At least -- I loved her.

[Sayid walks away. Jack grabs a handful of dirt to pour on Shannon's grave.]

JACK: May she rest in peace.

[Locke, Sun, Claire start filing past the grave to put the ritual handful of dirt on the grave.]

[Kate puts on a Patsy Kline record, and starts talking to Sawyer even though he's unconscious.]

KATE: You hungry? I'm just going to mash you up some fruit here. When you wake up you're going to get a kick out of me feeding you like a baby. I saw a horse. Yeah, that's what happens when you don't sleep.

[Sawyer starts to stir and whisper.]

SAWYER [whispering]: [something unintelligible]

KATE: Sawyer? Are you awake?

SAWYER [whispering]: [something unintelligible]

KATE: What?

[Sawyer opens his eyes and grabs Kate's throat.]

SAWYER [whispering]: Why did you kill me? [Then yelling] Why did you kill me?

COMMERCIAL BREAK

[In the hatch, we see the record needle at the end of the album. The alarm is going off. Jack and Locke run in.]

LOCKE: It's the alarm.

JACK: Kate! Kate!

[Locke runs to enter the numbers. Jack finds Sawyer lying on the floor.]

JACK: Sawyer.

LOCKE: 4, 8, 15, 16, 22. Gah. [He hits the backspace key as there are 5 seconds left on the countdown] 23, 42.

[The timer resets. Jack lifts Sawyer back into the bed.]

LOCKE: What happened?

JACK: I don't know.

LOCKE: Well, you said...

JACK: I don't know, John.

LOCKE: Well, where's Kate?

[Charlie comes upon Kate walking in the jungle.]

CHARLIE: Kate, hey. You missed the funeral.

KATE: Yeah, uh, I was with Sawyer.

CHARLIE: Oh, right. A few of them came -- the new people. Not her -- the one who killed Shannon -- that would have been a bit awkward. They seem to have had a rough time of it. It looks like they went bloody Lord of the Flies out there. [Kate stops and stares into the distance] You haven't listened to a word I've said.

KATE: Do you think there are horses here?

CHARLIE: What?

KATE: I think I saw a horse in the jungle.

CHARLIE: I've seen polar bears. I've seen monsters, well, heard monsters; but horses, no. [Kate starts walking away] Kate! Where are you going?

[FLASHBACK to Kate buying a bus ticket.]

KATE: Tallahassee one-way, please.

[The guy in line behind her starts talking, but we can only see the back of him.]

GUY IN LINE: Tallahassee? I spent a week in Tallahassee one night. It's all strip malls and waffle houses. What's a pretty girl like you going to do down in Tallahassee?

KATE: I'm sure I'll find something.

GUY IN LINE: I'll bet you've got family down there, huh?

KATE: Actually, I'm just visiting.

[Reveal of the Marshal as the guy in the line.]

MARSHAL: Hey, hey, don't I know you?

[Kate looks around and notices a couple of agents in the bus terminal.]

KATE: No, I don't think so. [She tries to walk out]

MARSHAL: Don't run, Kate.

[She punches him a couple of times and he cuffs her. The other agents run up.]

MARSHAL: I've got her. Kate Austen you're under arrest for murder.

KATE: I didn't do anything.

MARSHAL: Uh-huh, yeah you did. Your mama gave you up, Kate.

[Charlie playing guitar on the beach, as Jack enters.]

JACK: Charlie, have you seen Kate?

CHARLIE: A little while ago in the jungle. She was acting kind of barmy, asking me about horses on the island.

JACK: You know where she is now?

CHARLIE: She's on the path heading back to the caves. Everything okay?

JACK: Yeah, Charlie, everything's fine.

[Locke using bolt cutters to cut the handcuff off of Jin's wrist.]

JIN [shaking Locke's hand]: Thank you.

LOCKE: Free at last, huh?

[Jin starts to leave and shows the cuff to Michael on his way out.]

MICHAEL: Yeah, man. Looks good.

[Michael is examining a metal strip on the ceiling of the hatch.]

MICHAEL: Hey, Locke, what's up with the blast doors?

LOCKE: Blast doors?

MICHAEL: Yeah, like in case of an explosion they come from the ceiling. That guy down here, uh...

LOCKE: Desmond?

MICHAEL: Desmond. He didn't tell you about these -- what they're for?

LOCKE: No, no he didn't. But he did leave a movie.

MICHAEL: A movie?

LOCKE: Yeah. You want to see it?

EKO [appearing]: I would like to see it too -- if you don't mind.

LOCKE: Why not? The more the merrier.

[Kate sitting in the jungle. Jack walks up.]

JACK: Kate, what the hell are you doing out here? What happened in the hatch, Kate? Why'd you leave? I come back -- I find Sawyer just lying on the ground. You just took off...

KATE: Is he okay?

JACK: Yes, Kate, he's fine.

KATE: I'm sorry.

JACK: Are you?

KATE: Yeah, I'm sorry. I'm sorry that I am not as perfect as you. I'm sorry that I'm not as good.

JACK: Okay, what's going on with you?

KATE: Just forget it.

JACK [grabbing her arm]: No, don't walk away from me.

KATE [struggling]: Let go of me. Just...

JACK: No. Kate. [He grabs her] Kate, Kate, Kate.

KATE: Don't! I've got... [she starts to cry]

JACK [hugging her]: It's okay. It's okay.

KATE: Please, this place is crazy -- it's just -- I can't -- it's driving me nuts.

JACK: I know. It's okay. It's alright. It's alright.

[Kate kisses him, looks confused, and runs off.]

JACK: Kate!

COMMERCIAL BREAK

[Locke, Michael, and Eko watching part of the film.]

THE FILM: From the moment the alarm sounds you will have 4 minutes to enter the code into the microcomputer processor [splice] induction into the program. When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything [splice]. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the DHARMA Initiative, thank you. Namaste. And good luck.

MICHAEL: Alright, so you've been pushing that button every 2 hours since you got down here.

LOCKE: That's right.

MICHAEL: How does that even work?

LOCKE: I set up 2 person shifts -- 6 hours -- everyone's on the roster.

MICHAEL: Don't they want to know why?

LOCKE: I think the film's pretty self-explanatory.

MICHAEL: Really? All I heard was something about electro-magnets and an incident. What about all the missing pieces?

LOCKE: Oh, you mean the splices? Yeah, just a frame here and there, I think -- nothing important. [to Eko] What do you think? About the film -- what do you think?

[Eko doesn't say anything, but gets up and leaves.]

[Kate sitting, teary, at Shannon's grave, as Sayid approaches.]

KATE: I'm sorry I missed it -- her funeral -- I had to be with Sawyer, so...

SAYID: Why aren't you with him now?

KATE: Because I'm going crazy. Do you believe in ghosts, Sayid?

SAYID: I saw Walt in the jungle just before Shannon was shot. Does that make me crazy?

[FLASHBACK to Kate in handcuffs in a car with the Marshal on a rainy night.]

MARSHAL: It's a long drive back to the arraignment, you comfy [he laughs]? Why now?

KATE: What?

MARSHAL: Nice, corn fed farm girl like yourself -- no history of violence, straight A's, no record, couple of speeding tickets -- just got to wonder, why'd you kill him now? [Kate doesn't respond] Oh, right, yeah, don't tell me. You wouldn't want to incriminate yourself, not after you were so smart planning it. That jury back in Iowa sure ain't going to get hung up on pre-meditation. And a gas leak, come on, it's amateur hour from top to bottom.

KATE: Sounds like you've got it all figured out.

MARSHAL: I do have you all figured out.

KATE: You don't know anything about me.

MARSHAL: White trash mom divorces dad, starts up with some guy who's a drinker. He knocks her around a little bit, she marries him, because, you know, that's what happens. And then this drunk, this Wayne, he moves into your house, and you get to lay there every night and listen to him doing your mom right there in daddy's old bedroom. And even that wouldn't be so bad if he didn't beat her up all the time. But she loves him. She defends him. If that don't make a person want to kill somebody I don't know what does. But the question is now, why now? Why after all these years did you just decide to blow poor Wayne up? He come knocking on your door late at night?

KATE: He never touched me.

[Suddenly there's a black horse in the road and the car crashes into a pole. The Marshal is knocked out and Kate grabs the keys to the cuffs. He tries to stop her but she kicks him out of the car and starts driving off. She sees the horse standing there looking at her, and then drives off.]

[Michael and Locke in the hatch.]

MICHAEL: Why can't you just put the numbers in now?

LOCKE: It doesn't work that way. The alarm goes off at 4 minutes; you can't type anything until then. [Locke presses some keys to show nothing happens on the screen].

MICHAEL: You mind if I check out some of this hardware?

LOCKE: Sure. Just don't break it.

[Locke walks toward the kitchen and finds Eko sitting at the table.]

LOCKE: Hello again.

EKO: Hello. I have something I think you should see. If you don't mind, I will begin at the beginning. Long before Christ the king of Judah was a man named Josiah.

LOCKE: Boy when you say beginning, you mean beginning.

EKO: At that time the temple where the people worshipped was in ruin. And so the people worshipped idols, false gods. And so the kingdom was in disarray. Josiah, since he was a good king, sent his secretary to the treasury and said: "We must rebuild the temple. Give all of the gold to the workers so that this will be done." But when the secretary returned, he had no gold. And when Josiah asked why this was the secretary replied, "We found a book." Do you know this story?

LOCKE: No, I'm afraid I don't.

EKO: What the secretary had found was an ancient book -- the Book of Law. You may know it as the Old Testament. And it was with that ancient book, not with the gold, that Josiah rebuilt the temple. On the other side of the island we found a place much like this, and in this place we found a book. [Eko unwraps the book and pushes it toward Locke] I believe what's inside there will be of great value to you.

[Locke opens the book. A square has been cut out, and inside is a piece of film.]

COMMERCIAL BREAK

[Jack chopping wood, as Hurley approaches.]

HURLEY: Hey. [Jack doesn't answer] So, Rose's husband's white, didn't see that one coming.

JACK: Is there something you need, Hurley?

HURLEY: No, just taking a walk, thought I'd say hey. Who's taking care of Sawyer?

JACK: Sun is.

HURLEY: So, you're like, mad at him?

JACK [laughing]: Why would I be mad at Sawyer?

HURLEY: Maybe because he's the one that always comes down here and chops wood, and now you are? It's like, transference.

JACK: What are you a shrink now?

HURLEY: Well, that's what they call it in the mental hospital.

JACK: I'm not mad at anyone.

[Sun in the hatch with Sawyer. Kate enters.]

KATE: Where's Jack?

SUN: I don't know. He didn't come back.

KATE: Has he said anything?

SUN: Sawyer? No, he's still sleeping. Can you watch him? [Kate doesn't reply right away] I can stay with...

KATE: Yeah, I -- I can.

SUN: Thanks. [Sun exits]

[FLASHBACK to Kate entering a recruiting office. We see Sgt. Sam Austen on the phone at a desk.]

AUSTEN: Right, uh-huh. Yes, I'm sure that's the exact one you have, uh-huh. I'll send one over to you, right. [He sees Kate] I'll call you back later.

KATE: Hi, Dad.

AUSTEN: Kate, the police and the U.S. Marshals are looking for you. You shouldn't have come here.

KATE: I've been waiting outside for 2 hours, they're not here.

AUSTEN: Is it true what they're saying? [Kate doesn't answer] Katie, what'd you come here for?

KATE: Why didn't you tell me, Dad?

AUSTEN: Tell you what?

KATE: I was making a scrapbook -- a surprise for your birthday. So I called one of your COs to get some pictures of you in uniform. The pictures that he sent me had dates on the back -- photos of you in Korea up until 4 months before I was born. Why didn't you tell me that Wayne was my father? Why?

AUSTEN: I didn't tell you because I knew you'd kill him. And your mother loved him. You were 5 years old. I wanted to take you along with me. She wouldn't let me.

KATE: So why didn't you kill him?

AUSTEN: Because I don't have murder in my heart. I'm going to have to call them.

KATE: Can I have an hour?

[He nods, and Kate hugs him.]

KATE: Bye, Daddy.

[Kate and Sawyer in the hatch.]

KATE: Can you hear me? Sawyer? Wayne? [Sawyer stirs] I'm probably crazy and this doesn't matter, but maybe you're in there somehow. But you asked me a question. You asked me why I -- why I did it. It wasn't because you drove my father away, or the way you looked at me, or because you beat her. It's because I hated that you were a part of me -- that I would never be good. That I would never have anything good. And every time that I look at Sawyer -- every time I feel something for him -- I see you, Wayne. It makes me sick.

SAWYER: That's about the sweetest thing I've ever heard.

KATE: Sawyer?

SAWYER: Who the hell's Wayne? [he opens his eyes] I'm in a bunk-bed?

KATE: Yeah, you're in a bunk-bed.

SAWYER: Are we saved?

KATE: No, Sawyer. Not yet.

COMMERCIAL BREAK

[Eko and Locke splicing the film together.]

LOCKE: Voila. What are the odds?

EKO: The odds?

LOCKE: Here, hold this down on the table there nice and flat. I mean, think about it. Somebody made this film. Someone else cut this piece out. We crash -- 2 halves of the same plane fall in different parts of the island -- you're over there, I'm over here. And now, here's the missing piece right back where it belongs. What are the odds?

EKO: Don't mistake coincidence for fate.

[Kate helping Sawyer walk through the hatch.]

SAWYER: You've got to be kidding me.

KATE: Air lock's over this way.

SAWYER: Come on, admit it, we've been rescued.

KATE [exiting from the hatch door]: You got it? Sorry. Watch yourself.

SAWYER [seeing the jungle]: Son of a bitch.

KATE: Watch yourself, okay?

SAWYER [sitting down]: Oh, got it.

KATE: Okay.

SAWYER: Home sweet home.

KATE: Yeah.

SAWYER: I really thought you were yanking my chain. What do you keep smiling at?

KATE: You need a haircut.

SAWYER: Oh, really? [Sawyer sees something in the distance] Maybe you ought to take me back inside.

[Kate turns to see the black horse.]

KATE: You see that?

SAWYER: If you mean the big ass horse standing in the middle of the jungle, then yeah.

[Kate approaches the horse and nuzzles it before it walks away.]

SAWYER: Do you know that horse, Freckles?

KATE: Yeah, I do.

[Ana sitting on the beach making a sharp pointy stick as Jack approaches carrying little bottles of liquor.]

JACK: Tequila and tonic, that's your drink, right?

ANA: Where's the tonic?

JACK: We're running a little low on mixers.

ANA: You sure you want to waste that on me?

JACK: Figured you could use a drink. I know I could.

ANA: Are you going to try to convince me that everyone here doesn't hate me?

JACK: Only if you're going to try to convince me that every woman in the world's not crazy.

[Eko and Locke watching the Film as Michael checks out the computer hardware in the other room.]

THE FILM: When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything else other than the entering of the code. This is its only function. The isolation that attends the duties associated with Station 3 may tempt you to try and utilize the computer for communication with the outside world. This is strictly forbidden. Attempting to use the computer in this manner will compromise the integrity of the project and worse, could lead to another incident. I repeat, do not use the computer for anything other than entering the code. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the DHARMA Initiative, thank you. Namaste. And good luck.

[Michael hears a bing sound. He looks at the timer which is at 51:00. He hears the bing sound again. He looks at the monitor which displays a word.]

MONITOR: Hello?

MICHAEL [typing, not talking]: Hello?

MONITOR: Who is this?

MICHAEL [typing]: This is Michael. Who is this?

MONITOR: Dad?

[Flashback]

[We see a group of Nigerian kids playing soccer in a village. A truck full of thugs speeds into the village as Young Eko, wearing a cross, looks on worriedly. The thugs get out of the truck with guns and herd the children together.]]

THUG [subtitled]: Get the children.

THUG #2 [subtitled]: All of you! Let's go!

THUG [subtitled]: Be quiet!

THUG #2 [subtitled, to the adults]: All of you people! Out of here!

[A priest come running out of the church.]

PRIEST: Don't take anymore of the children.

[One of the thugs knocks the priest to the ground with the butt of his rifle.]

THUG #2 [subtitled]: Grab the old man.

[A balding man is brought forward and forced to his knees.]

THUG [subtitled]: Get the little one. Yes, the little one!

[The Thug Captain takes a gun out of his holster and walks over to a small boy, Eko's younger brother, Yemi. He grabs Yemi and shoves the gun in his hands and points the gun at the old man. Eko looks on helplessly.]

THUG CAPTAIN [in English]: Kill him. Shoot him. Now.

[The villagers look on as Yemi holds the gun pointed at the old man.]

THUG CAPTAIN: Shoot him! Do it!

[Yemi continues to shakily point the gun. Eko runs up, grabs the gun, and shoots the old man. The Thug Captain grabs the gun away from young Eko.]

THUG CAPTAIN: What's you're name, boy? What's you're name, boy!?

YOUNG EKO: Eko.

THUG CAPTAIN [laughing]: Look at Mr. Eko. No hesitation. A born killer. [He puts his arm around Eko's shoulder] Come. [He yanks the cross from around Eko's neck and tosses it to the ground] You won't need that anymore.

[The Thug Captain leads Eko off to the truck to leave, as Yemi picks up the cross.]

[Back on the island we see Eko carving the names of books of the bible onto his stick with some chapter numbers and the word "hateth."]

CLAIRE [off camera at first, holding the baby]: What are you writing?

EKO: Things I need to remember.

CLAIRE: Do you mind if I sit?

EKO: Please.

CLAIRE: Thanks. So you're Eko, huh?

EKO: Yes.

CLAIRE: Claire; and this is Aaron.

EKO: Aaron? The brother of Moses?

CLAIRE: Yeah, that must have been tough to live up to, right? The pressure of everyone saying, "Why can't you be more like your brother, Moses."

EKO: Yes, I'm sure it was. Why did you choose it -- Aaron?

CLAIRE: I just liked it.

EKO: Aaron was a great man. Moses had great difficulty speaking so it was Aaron who spoke for him.

CLAIRE: So you're religious, huh? You should speak to Charlie. He doesn't want to admit he's religious, but he carries around a statue of the Virgin Mary.

EKO: Statue?

CLAIRE: Yeah, he says he found it on the island. Weird, right?

EKO: May I see it?

[Scene switches to a close up of the statue. Eko and Claire are at Claire's emcampment on the beach. Eko is upset.]

EKO: Where did he find this?

CLAIRE: He said he found it in the jungle.

EKO: Where in the jungle?

CLAIRE: I don't know.

EKO [quite upset]: Where!?

CLAIRE: Look, what are you -- it's just a statue.

EKO: Just a statue?

[Eko puts the statue on a little table and breaks it with his stick. He shows her the heroin inside.]

EKO: Where is Charlie?

COMMERCIAL BREAK

[We see the combination to the gun vault being opened (using the numbers 25 & 29) by Locke. Locke opens the vault door and starts using a screwdriver on the other side of the lock.]

MICHAEL [entering]: You breaking in or breaking out?

LOCKE: I used to love those old silent movies where the robbers would crack a combination lock with their ear pressed up against the safe. And the money they stole was always in a white bag with a big dollar sign on it.

MICHAEL: Silent movies, huh? You're not that old, man.

LOCKE: I'm old enough.

MICHAEL: You set the combination?

LOCKE: With the new folks joining us I figure we better limit people's access to the guns. Can't have just anyone who wants one walk in and help themselves -- which I'm guessing is why you're here, Michael.

[Scene switches to Jin and Charlie at the shore. Jin is trying to fish with a net. Charlie is holding a homemade fishing pole under his arm and singing.]

CHARLIE [singing]: He's got wit he's got charm/But when he gets rough he'll break your arm/He's got taste, manners and grace/But when he gets rough he'll slit your face/He'll buy you jewels, expensive shoes, uh, oooo -- Hey Jin, do you like the Kinks? Kinks?

JIN: Kins?

CHARLIE: No, man, Kinks. Kinks with a "k" at the end. K-ki-kink-a. Kinks. You know, [singing again] Once you're in love, you're no getting out ha-a-a-a so look out. It's a good tune, Jin. [Singing] Look out.

JIN: [says something in Korean and motions for Charlie to go away, walk down the beach.]

CHARLIE: Oh, thank you very much, Jin. I do have a beautiful voice, don't I?

[Jin looks over at something and Charlie turns his head. We see Eko walking intently toward them.]

EKO [to Charlie, holding a piece of the statue]: Where did you find this?

CHARLIE: What happened?

EKO: Where did you find it?

CHARLIE: In the jungle. I found it in the jungle.

EKO: Take me there.

JIN: [says something in Korean.]

EKO [to Jin]: This is not your business. [to Charlie] I want you to take me to where you found it.

CHARLIE: Okay, fine. Yeah, we'll go for a stroll -- there's nothing there. We'll go first thing in the morning, alright?

EKO: We're going now.

CHARLIE: Okay, let me go tell Claire so she doesn't get the wrong idea. Wait here --

EKO: Tell her on your way.

[FLASHBACK]

[We see a car pull up in a village. Two thugs get out. Then we see the adult Eko emerge from the car and scope out his surroundings. Scene switches to Inside one of the buildings in the village. We see a duffle bag dropped on the ground and Eko sitting across from two Moroccans.]

TOUGH MOROCCAN [to a boy]: Get us some beers. Go.

EKO: Where did you find this?

TOUGH MOROCCAN: What does it matter?

[One of Eko's men, Goldie, pulls a bag of heroin out of the duffle bag and put it on the table. Eko picks it up.]

EKO: Same in the other bag?

TOUGH MOROCCAN: Yes.

[Eko pulls out a huge knife, punctures the bag of heroin and tastes it.]

EKO: 50.

TOUGH MOROCCAN: 50 what?

[One of Eko's men puts some money on the table.]

EKO: 50 is what I will pay you in exchange for the favor you are asking me to do.

TOUGH MOROCCAN: A favor?

EKO: You have a large quantity of heroin in a country that has no poppies and no market for its sale. Your drugs are of no value here, so you must get them out. The borders are all guarded by the military so you must fly. But as I'm sure you are aware the only private planes currently allowed into the air are either U.N. aid or the Catholic missionaries. And so you have come to me for a favor. I will buy your heroin -- for 50.

[Tough Moroccan says something to Moroccan #2 in Arabic; they stand.]

TOUGH MOROCCAN: It is true what they say about you.

EKO: And what is that?

TOUCH MOROCCAN: You have no soul.

[Eko laughs briefly and suddenly kills both men with a swipe of his knife across their necks. The boy drops a beer, and Eko's men point their guns at the boy.]

EKO [to his men]: No. [To the boy] Go. Go. And tell your friends that I let you live -- that Mr. Eko let you live.

[Back on the island we see Claire picking up pieces of the broken Mary statue. Charlie and Eko enter.]

CHARLIE [to Eko]: Just give me a second, okay? [To Claire] Hi, Claire. What happened to the statue?

CLAIRE: Don't play stupid, Charlie.

CHARLIE: What?

CLAIRE [pulling baggies of heroin out of her pocket]: What's this? Because this was in your little statue. And, unless I'm mistaken I seem to remember you saying you're a drug addict.

CHARLIE: I didn't know. [Claire rolls her eyes.] Look, it's sealed up inside a statue, how would I know? Claire, I'm not using. [Charlie starts breaking open the baggies and dumping the heroin in the sand] Look, you believe me now? I don't -- care.

CLAIRE: Someone's waiting for you.

[Scene switches to a shot of a jar of Dharma Ranch Composite Dressing sitting on a log. We see Locke teaching Michael how to shoot.]

LOCKE: Got it?

MICHAEL: Got it.

LOCKE: Alright. Breath half-way out -- gently squeeze the trigger. Squeeze. [Michael pulls the trigger of the unloaded gun] Good.

MICHAEL: How'd you learn all this stuff?

LOCKE: My dad used to take me hunting.

MICHAEL: Hunting for what?

LOCKE: Birds mostly. Of course, birds don't shoot back.

MICHAEL: Yeah. I know people are talking -- thinking I'm going to go running off after Walt again.

LOCKE: If people are talking I'm not hearing it. But if I was, I'd say it's not a very smart plan.

MICHAEL: Yeah, it's not.

LOCKE [loading the gun]: Let's try one for real.

[Michael takes a shot and hits the jar of dressing.]

LOCKE: Bravo.

[Charlie and Eko walking in the jungle.]

CHARLIE: Well done with Claire, mate. You got me in a lot of trouble there, so thanks for that. Hope you're happy. Oh, that's right, you don't do happy. [They stop at a tree] Alright, well, we're here. I found it right here, right by that tree.

EKO: You found it here?

CHARLIE: Yeah, found it here.

EKO: You're lying.

CHARLIE: You know what? I don't even know you. You asked to see where I found it. This is where I found it. We're done. Have a nice hike.

[Charlie starts to walk away, but Eko grabs him by the neck and shoves him up against the tree.]

EKO: You did not find the statue here. Take me to the plane.

COMMERCIAL BREAK

[Charlie and Eko walking in the jungle.]

CHARLIE: How'd you know about the plane? It's old, you know. It's been out in the jungle for years. Of course, you would know that -- you know everything.

EKO: Why did you lie to the girl?

CHARLIE: What?

EKO: You told her you did not know what was inside the statue.

CHARLIE: I wasn't lying.

EKO: Then what is the wrong idea?

CHARLIE: What?

EKO: When I showed you the broken pieces of plaster, you said you did not want her to get the wrong idea. What is the wrong idea?

CHARLIE: I don't have to tell you anything, man. You come traipsing across the island, and what, suddenly now you're in charge? You want me to take you to your plane? You best start treating me with some respect. I'm not just some guy you can just...

[Eko suddenly looks into the jungle and we see the smokey monster "fly" by in the distance. Charlie looks too late and doesn't see it.]

CHARLIE: What? What!?

EKO: Let's go.

CHARLIE [under his breath]: Yes, sir.

[FLASHBACK]

[In the village from the first scene, we see the church, and a woman selling the Virgin Mary statues out front. Eko approaches.]

NIGERIAN WOMAN: Sir! Sir, if you buy a statue the money will buy polio vaccine for the village. 200 Naira, sir.

YEMI [appearing]: What are you doing here?

EKO: I have come to give my confession.

YEMI [smiling]: Hello, Eko.

EKO [smiling]: Hello, brother.

[Inside the church.]

EKO: So I come to visit you for the first time in 3 years and you won't hear my confession? You know, Monsignor would have said he failed to raise a proper Catholic boy.

YEMI: Well, why waste your time confessing. It won't help you.

EKO: It won't?

YEMI: No, for confession to mean something you must have a penitent heart.

EKO: You and your guilt, Yemi. I've only done what I needed to do to survive. How is that a sin?

YEMI: You may live far from here, but that doesn't mean I haven't heard of who you are and what you have done.

[Eko reaches in Yemi's priest's shirt and pulls out the cross (the one that Eko wore as a boy).]

EKO: Have you forgotten how you got that cross, brother -- the day they took me? Is what I did that day a sin? Or is it forgiven because it was you that was saved?

YEMI: Why are you here, Eko?

EKO: I have come to help you. I have some merchandise that I need to get out of the country. I would like to use one of your church relief flights to transport it.

YEMI: Merchandise? You mean drugs.

EKO: It is not my normal business, Yemi. We are moving the drugs out of Nigeria so that they cannot be used by our people. And the money -- you'll have all the money to buy your vaccine. God has given us this opportunity; we should not turn our back on it.

YEMI: God did not bring you here, Eko. You're own greed did. I will always love you, but I will not help you. It's good to see you again, brother. [He exits leaving Eko sitting in the church.]

[Back on the island, Kate gives Sawyer a haircut.]

SAWYER: A little close to the ear, Freckles. You sure you know what you're doing?

KATE: Would you please turn your head.

SAWYER: Why, you ain't got a clean enough shot at my neck? I can cut my own damn hair.

KATE: You know, you don't have to be belligerent just for belligerent's sake. Everyone loves you now.

SAWYER: Bull puckey.

[We see Hurley and Michael walking by.]

HURLEY: Yo, Sawyer, glad you're back, man.

SAWYER [not loud enough for Hurley to hear]: Yo yourself, Pillsbury.

KATE: See?

MICHAEL: Hey, Kate? Hey, Locke said you were on hatch duty later. I was wondering if, uh, you mind if I go instead?

KATE: You want my shift?

MICHAEL: Help me take my mind off things.

KATE: Sure, it's all yours.

MICHAEL: Thanks, appreciate it. [He hesitates a moment, then to Sawyer] Glad you're okay, man.

SAWYER: Yeah. [to Kate] Don't even say anything.

[Charlie and Eko walking in the jungle.]

CHARLIE: Time to take a break.

EKO: You just had a break.

[Charlie stops and gets some water.]

CHARLIE: I'm not what you think I am.

EKO: And what do I think you are?

CHARLIE: It was my brother's fault.

EKO: Sorry?

CHARLIE: It was his fault I became an addict. He started with the heroin. I tried to make him stop. You don't know me, man. I was a good person. I was an alter boy. Alright, I knew what was in that statue, it doesn't mean I needed what was inside it. So don't judge me, man.

[Eko suddenly sees something in the trees beyond Charlie and goes to investigate.]

CHARLIE: What? What's that? It's a parachute.

[Eko looks around and see the Nigerian "priest" skeleton that Boone and Locke found in a previous episode.]

CHARLIE: Is that a priest?

[Eko reaches to pull open the priest's shirt.]

CHARLIE: What are you doing?

[Eko opens the shirt but we just see the decaying body. He looks at the skull and notices a gold tooth.]

CHARLIE: You know that guy?

EKO: Yes, this man saved my life.

COMMERCIAL BREAK

[We see Eko kneeling and praying over the body with Charlie standing a little bit away.]

CHARLIE [while Eko's praying]: He saved your life, huh? Sure, that makes sense. He takes off in a plane in Nigeria -- we're out in the middle of the South Pacific -- that makes all the sense in the world.

[Eko finishes praying, Charlie picks up Eko's stick.]

CHARLIE: This is scripture written here. You're a priest. You're a priest, right? He's a priest and you're a priest, too, right?

[FLASHBACK]

[Eko bursts into his brother's church and opens the curtain of the confessional where his brother is.]

EKO: I need to talk to you.

YEMI: I'm in the middle of a confession.

EKO: It cannot wait.

YEMI [to the confesser]: Bless you. [To the other people in the church] God be with you all and please come back in the morning. [A woman looks back at him] It's okay. [To Eko] How dare you come here and disrupt my work?

EKO: Have you reconsidered?

YEMI: What?

EKO: My request?

YEMI: Flying drugs under the cover of the church? How is that something I could ever reconsider? [He sees one of Eko's men handling the candles on the altar] Look, hey, don't touch those!

EKO: I'm going to make this easy for you. You will make us priests and we will fly the drugs out ourselves.

YEMI: Make you priests?

EKO: Just sign these ordination documents and I will give you the money for the vaccines.

YEMI: Leave this church now, Eko. Go. Now.

EKO: Yemi, I understand that you live in a world where righteousness and evil seem very far apart, but that is not the real world. I am your brother and I would never do anything to hurt you, but my friends -- if you do not do what I ask -- they will burn this church to the ground. Is that worth less than the price of your name on a piece of paper? Think of the lives you will save.

[After a long stare down, Yemi snatches the paper out of Eko's hand and makes to sign the ordination documents.]

YEMI: My signature does not make you a priest, Eko. You could never be a priest.

EKO: How many of the statues do you have left? The Virgin Mary statues, how many?

YEMI: I don't know -- 300.

EKO: I will take all of them.

[Eko offers a pile of money to his brother who doesn't take it. Eko sets it down on the bible next to him.]

EKO: I guess we are both sinners now.

YEMI: Perhaps we are but God will forgive me, Eko.

[Charlie and Eko walking in the jungle. Charlie is looking around, perplexed.]

CHARLIE: Uh, I'm lost. It was dark. I was following Sayid. Right afterwards a big bag of rocks fell on my head so I'm sorry if I'm a bit spotty with the geography.

EKO: Climb that tree.

CHARLIE: What?

EKO: Climb that tree and perhaps you will be able to get your bearings or spot the plane.

CHARLIE: You climb it. What if I don't? You going to beat me with your Jesus stick? I find it a little odd that your scripture stick has dried blood on it.

EKO: Are you going to climb that tree, or not?

CHARLIE [reluctantly going to the tree]: What kind of priest are you, anyway?

[Charlie climbs up the tree with some difficulty.]

EKO: You need to get higher.

[We see Eko surveying his surroundings, as Charlie climbs higher in the tree. Suddenly the ground explodes a little ways off from Eko and we hear the monster sounds.]

CHARLIE: Eko, run! Run!

[We get a monster POV shot as if "flies" toward Eko stopping right in front of his face while Charlie looks on. Then we see a shot from above/Charlie's POV of Eko standing in front of a long "cloud" of the black smokey looking monster. The camera swings around so it's in the black "smoke" pointing toward Eko. Inside it there are flashes of light, images. The camera continues its arc through the black "smoke" and comes out the other side. We see another shot from above as the monster gathers itself and "flies" off and into the ground. Eko looks up at Charlie.]

COMMERCIAL BREAK

[Charlie is down from the tree and goes to Eko.]

EKO: Did you see it?

CHARLIE: Yeah, I saw it. What the bloody hell did you do?

EKO: I did nothing.

CHARLIE: Most people, when they see a creature made of swirling black smoke, they run.

EKO: I was not afraid of it.

CHARLIE: I can see that. That thing kills people.

EKO: Did you see the plane?

CHARLIE: Yes, I saw your plane. It's about a kilometer that way.

EKO [leaving]: Thank you.

CHARLIE [quickly following]: Wait!

[Inside the hatch we see Michael looking around to make sure no one is there. He goes into the computer room and tries to type but nothing happens.]

MICHAEL: Come on. Come on. Where are you?

[Suddenly something appears on the monitor.]

MONITOR: Dad?

MICHAEL [typing]: Are you OK?

MONITOR: Yes. Are you alone?

MICHAEL [typing]: Yes.

MONITOR: Can't talk long. They're coming back soon.

MICHAEL [typing]: Where are you?

MONITOR: You need to com...

[The shot changes to Michael's face, reading. Suddenly Jack enters just as Michael was about to type something.]

JACK: Hey, Michael.

MICHAEL: Hey.

JACK: How're you doing?

MICHAEL: I'm good, thanks.

JACK: You down here alone?

MICHAEL: Yeah, Hurley's supposed to be here, but, uh, I guess he's running late.

[Jack grabs a chair and sits down, but he can't see the monitor screen.]

JACK: Well, listen, uh, no one's forgotten about Walt.

MICHAEL: What?

JACK: I can't -- I don't have any idea what you must be going through, but I just want you to know that as soon as we can we're going to figure a way to go out and bring him back.

MICHAEL: Yeah, thanks, man. Thanks. [Michael looks toward the computer screen.]

JACK: You okay?

MICHAEL: Yeah, fine.

[Jack gets up and crosses behind Michael. We see that the screen is blank. Jack puts his hand on Michael's shoulder.]

JACK: Well, I'll leave you to it then.

MICHAEL: Thanks.

[Eko and Charlie walking in the jungle. They come upon the plane.]

[FLASHBACK]

[We see a plane idling on a runway. Eko and Goldie, dressed as priests, are loading the drugs onto the plane. One of Eko's men, Olu, is standing guard and sees something.]

OLU [shouldering his gun]: Eko.

[We see a van driving up. Eko motions for his men to lower their guns. Yemi gets out of the van.]

EKO: What are you doing here, Yemi?

YEMI: I came to stop you.

EKO: Go back to your church.

YEMI: Do not get on that plane, Eko. You saved my life once and now I'm here to save yours.

EKO: Save my life?

YEMI: Look, if you get on that plane -- if you do this...

EKO: Do what, Yemi? Are you a prophet now?

YEMI: Please, Eko. Let me take your confession. Anything I can do, I will do. But please, don't go.

[Suddenly a truck with soldiers comes speeding up.]

GOLDIE: He called the military.

EKO [to Yemi]: You did this?

YEMI: I did not tell them who was involved. Just leave the drugs and come back with me.

[Goldie and Olu start shooting at the military truck. The truck crashes to a stop and the soldiers start shooting back, killing Olu. Yemi runs in front.]

YEMI [yelling at the soldiers]: No! Stop! No more. No more.

[Yemi gets shot and Eko runs to him.]

EKO: Yemi! No! No! [to Goldie] Help me get to the plane.

[Goldie gets Yemi into the plane. As Eko is trying to climb in, Goldie kicks him to the gound, closes the door and the plane flies away.]

[Back on the island, Eko goes inside the plane. He sees the statues, and his brother's blood. Then he sees a body. He opens the shirt and finds his cross. He holds the corpse and cries.]

EKO: Forgive me, forgive me.

[FLASHBACK]

[At the runway, Eko is still on the ground, as a soldier approaches.]

SOLDIER [to Eko]: Father? Are you okay, Father?

COMMERCIAL BREAK

[At the plane on the island. Eko removes the cross from the body as Charlie approaches.]

CHARLIE: Eko? Who's that?

EKO: He's my brother.

CHARLIE: I'm sorry.

[Eko places one of the Virgin Mary statues with his brother's body. He pulls a fuel line out of the plane's interior and douses the body with fuel. Eko emerges from the plane and gives a statue to Charlie.]

EKO: For the one I broke.

[We see the plane on fire with Eko and Charlie looking on.]

CHARLIE: So, are you a priest or aren't you?

EKO [putting the cross around his neck]: Yes, I am. The Lord is my Shepard I shall not want. He maketh me to lie down in green pastures. He leadeth me beside the still waters. He restoreth my soul: he leadeth me in the paths of righteousness for his name's sake. Yea, though I walk through the shadow of the valley of death, I fear no evil: for thou art with me; thy rod, thy staff they comfort me.

[The following lines are spoken by Eko as voice over on a sequence of Sun and Jin bringing a fish to Ana]:

EKO: Thou preparest a table before me in the presence of mine enemies: thou anointest my head with oil; my cup runneth over. Surely goodness and mercy shall follow me all the days of my life: and I will dwell in the house of the Lord forever. Amen.

[We see a montage: Libby is struggling to build a shelter and Hurley comes to help her. Sawyer looks at his haircut in a mirror and teases Kate. Jack interrupts their flirting to give Sawyer a pill.]

[Charlie approaches Claire as she's packing up his stuff.]

CHARLIE: Claire?

CLAIRE: You lied to me, Charlie.

CHARLIE: I know I did. I'm sorry. I just -- it made me safer to have it around.

CLAIRE: Look, I can't have you around my baby, okay?

CHARLIE: Claire, I...

CLAIRE: Charlie, I don't want you sleeping anywhere near us, okay? Just go.

[We see Charlie walking in the dark with a torch. He stops and reveals a hiding place with a cache of Virgin Mary statues. He adds another one to his collection.]

[FLASHBACK of Ana shooting at a firing range. Scene switches to Ana at the office of Matthew Reed, her therapist.]

MATTHEW: So how're you doing?

ANA: Well, the family with the screaming baby moved.

MATTHEW: You must be thrilled.

ANA: Actually, it's too quiet now.

MATTHEW: So, how's Danny -- you 2 trying to work things out?

ANA: There's nothing to work out. He left.

MATTHEW: You okay with that?

ANA: I guess you could say I'm one of those people that's just better off alone.

MATTHEW: So, how was the firing range?

ANA: Good.

MATTHEW: How did it feel to hold a gun again?

ANA: Very good.

MATTHEW: All these steps count, Ana. You've come a long way since we met 4 months ago.

ANA: Did she say -- you know, when I can come back to work?

MATTHEW: She left the final determination up to me.

ANA: Right.

MATTHEW: Do you think you're ready?

ANA: What do you think?

[He hands Ana her badge. Scene switches to a shot of her LAPD badge at the police dept. office.]

UNKNOWN VOICE [off camera]: Welcome back to the force, Officer Cortez.

[Scene switches to right after Ana shot Shannon. Sayid pulls out his gun and goes after Ana.]

MICHAEL: Sayid! Sayid, no!

[Eko tackles Sayid and they fight. Ana cold-cocks Sayid, and grabs the gun.]

MICHAEL: Hey, hey!

ANA [pointing the gun at Michael]: Don't move! Nobody move!

COMMERCIAL BREAK

ANA: Nobody move. Nobody! [to Eko] Does he have anything else on him?

EKO: What?

ANA: He just had a gun to your neck -- check to see if he had anything else on him?

MICHAEL: Hey, put it down.

ANA [pointing the gun at Michael]: Stop.

MICHAEL: Are you crazy? Don't point that at me?

ANA: I said stop!

MICHAEL: What is your problem?

[Ana fires off a warning round.]

BERNARD: Ana!

JIN: [Says something in Korean, and comes toward Ana.]

ANA: Get back! Get back, both of you!

MICHAEL: Are you crazy?

LIBBY: Ana.

ANA: Get back now!

LIBBY: Ana!

ANA [to Eko]: We need to tie him up.

EKO: I'm not tying him up.

ANA: He tried to kill you.

EKO: No.

ANA [pointing the gun at Libby]: You, you do it. Tie him. Use the vines from the stretcher.

MICHAEL: Hey, if we take that thing apart we won't be able to...

ANA: Shut up!

LIBBY: Ana, Sawyer need