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Episode 21 - ?
Transcript by Lost-TV, posted with spooky's permission
Written by Damon Lindelof & Carlton Cuse
Directed by Deran Sarafian
[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.]
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.
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.
[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?
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?
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.
[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.]
[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?
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?
[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.
[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.]
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!
[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.]
[We see Eko tasting some dirt in the circle area.]
EKO: It's salty.
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 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.
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.]
[He shows it to John and we see that it's labeled "Orientation." Eko puts in a player.]
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.
[We see Eko gathering papers from a table.]
LOCKE: What are you doing?
EKO: I'm taking this back with us.
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.
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?
[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?
EKO [shocked]: Speaking about my brother is not a joke, so you should be very careful what you say next.
CHARLOTTE: I saw him what 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.]
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.]