LOST
1X18: NUMBERS
ORIGINAL AIR DATE ON ABC: 03/02/2005
TRANSCRIBED FROM ABC

Written by DAVID FURY & BRENT FLETCHER
Directed by DANIEL ATTIAS

Transcript by Intrepid
Courtesy of http://anthology.webphilia.com/

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Transcriptionist.

RATING: TV-PG-LV
HDTV
==========================
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==========================
SUMMARY: In a discussion with Jack and Sayid about finding the French Woman,
Hurley gets his first good look at some of the papers taken from her. The
repetitive use of a specific group of numbers on the papers and the sheer
coincidence of their existence and their impact on his personal life, spurs
Hurley into an almost near obsessive need to find her. Locke puts Claire to
work.
==========================
LOST
1X18: NUMBERS
==========================



FADE IN.

NARRATOR: Previously on "Lost" ...



[Scene from 1X13: Hearts and Minds]

[EXT. JUNGLE - DAY]

(Boone kneels down and helps Locke push away the greenery they used to cover the
hatch. They both stand up and look down at it. Locke is intense and focused on
the hatch.)

LOCKE: Right now, this is our priority.



[Scenes from 1X09: Solitary]

[EXT. JUNGLE - DAY]

(Sayid steps over the trip line successfully, but something else is triggered
and a trap is set off. The ropes snap around Sayid's ankles and he is pulled up
high into the trees. Upside-down.)

SAYID: Aah!



[INT. DANIELLE'S SHELTER - DAY]

(Sayid sits at the table as he questions Danielle Rousseau.)

SAYID: How did you come to be on this island, Danielle?

CUT TO:

DANIELLE ROUSSEAU: The ship slammed into rocks, ran aground.

CUT TO:

(Sayid quickly crosses the small shelter. On the table are maps and other
papers. He quickly grabs as many pieces of papers as he can.)

(He shoves the papers into his knapsack.)

FADE OUT
END OF PREVIOUSLY ON



FADE IN.

[EXT. OCEAN WAVES BREAKING (STOCK) - DAY]

(The ocean waves crash into the shore.)


[EXT. BEACH - BOAT SITE - DAY]

(Hurley and Jin stand on the shore near a part of the boat part they're working
on. Hurley is holding the armful of bamboo rods in his arms. Jin holds out the
wire to Hurley and says something.)

JIN: (in Korean) (unsubtitled)

(Jin is trying to show Hurley something. Hurley drops the bamboo rods he's
holding down. He turns and looks at Jin, not knowing a word of what was just
said to him.)

HURLEY: Hold on a second, dude. You want what now?

(Trying another way to communicate, Jin drops the wire and starts motioning with
his hands. Hurley watches Jin.)

HURLEY: (guesses) You want to make snowballs?

(Hurley turns and looks at Michael who suddenly speaks up. He himself is
working on tying the bamboo together with wire.)

MICHAEL: (interrupts) He wants you to hold the bamboo tighter.

(beat)

MICHAEL: I think.

(Hurley and Jin go back to working together to tie the bamboo together.

(Jack walks up to Michael.)

JACK: Hey.

MICHAEL: Hey.

JACK: How's it coming?

MICHAEL: It's coming.

JACK: As long as nobody sabotages this one as well, huh?

MICHAEL: I got people standing guard 24/7. Nobody gets near this with or
without intent to burn. (Jack nods.) Hey, listen, I was thinking, the chance
of a passing ship spotting this raft out there is pretty slim. We could use
something to send out a distress call to any ships that might be close. Like an
S.O.S.

JACK: Okay, well, look, I'll ask Sayid, but, I mean, even if he can make
something like that, he's not gonna have anything to power it with.

(Hurley speaks up.)

HURLEY: Didn't Sayid say that crazy French Chick had batteries?

(They turn and look at Hurley. Michael and Jack share a look.)

CUT TO:



[EXT. BEACH - DAY]

SAYID: Absolutely not.

(Jack and Hurley talk with Sayid. Sayid turns and walks away from them back
over to his tent.)

JACK: I'm not asking you to go. I'll do it.

SAYID: No, you won't.

HURLEY: Dude, we're just trying to --

SAYID: (interrupts) Do you really think that she would give up something she
needs for survival to a total stranger?

JACK: All I'm asking is for you to tell me how to find her. That's it.

SAYID: I was brought unconscious to her camp. When I escaped, I was
disoriented. I don't know how to find her.

HURLEY: Don't know, dude, or don't want to?

(Not liking what he's implying, Sayid takes a step toward Hurley.)

JACK: Sayid, look, you've got her maps and her papers. Now, you thought that
they were pointing to something.

SAYID: Well, I was wrong.

JACK: Well, maybe they're pointing to her.

(Sayid grabs the papers off the table.)

SAYID: (frustrated) Look, I don't even know what these papers mean!

(He puts the papers back down on the table.)

SAYID: For all I know, they could be the ravings of her disturbed mind! Song
lyrics mixed with equations!

(He hands a couple to Hurley. He shows a particular map to Jack.)

SAYID: If this map is pointing to her, then you should know she resides here,
in this area.

(Sayid points to the area on the map. Hurley is looking at the pieces of paper
in his own hands. He's very quiet and not actively listening to Sayid anymore.)

SAYID: She gave it a name -- Territoire Fonce. Shannon translated it. It
means "Dark Territory." Does that sound like a place you'd like to visit?

JACK: So you won't help?

SAYID: I didn't say that.

(Hurley looks through the loose pieces of paper and stops at a particular sheet
with a math equation and repetitive numbers.)

A = SQRT [ (13/x) + (9/500) ^2 ]

4 8 15 16 23 42
4 8 15 16 23 42
4 8 15 16 23 42
4 8 15 16 23 42
4 8 15 16 23 42
4 8 15 16 23 42
4 8 15 16 23 42

SAYID: I'll build a distress beacon, but I suggest you find another power
source.

(The conversation continues and fades into the background. Camera pushes in on
Hurley as he stares at the sheet of paper with the numbers on it.)

SAYID: There must be something in the cockpit.

JACK: We're not going to the cockpit.

(Hurley stares at the numbers as if they mean something to him.)

CUT TO:



[INT. REYES' RESIDENCE - HURLEY'S ROOM - DAY - FLASHBACK]

(Hurley flips through the television channels changing the station from a
musical ... )

MAN: (from tv) Swing your partner, do-si-do!

(The channel changes to an aerobics class.)

WOMAN (INSTRUCTOR): (from tv) ... Hi!

(The channel changes again to a cooking show.)

WOMAN (COOK): (from tv) And make sure that when you cut the avocado ...

CARMEN REYES: Hugo, what are you doing in there?

HURLEY: Uno momento, mama. Just checking something out.

(Hurley continues to flip through the channels.)

CARMEN REYES: I hope you're not watching those g-string mujeres again.

HURLEY: Look, ma, we talked about this. You want me living here, you gotta
respect my privacy. (beat) And, no, I'm not.

(Hurley stops on the MEGA LOTTO JACKPOT show. The woman is calling the
numbers.)

(Carmen Reyes steps up to the door way and a little ways into the room.)

CARMEN REYES: Look at you. It's Saturday night. A grownup man sitting at home
watching tv. You should go out, try to find yourself a nice woman.

(She turns and heads back into the kitchen.)

HURLEY: Yeah, I'll get right on that.

CARMEN REYES: At least try eating better. You're gaining weight again.

MARY JO (LOTTO GIRL): (from tv) With the mega number, 42.

(Hurley gets to his feet, his eyes glued to the television set.)

MARY JO (LOTTO GIRL): (from tv) And that makes tonight's mega lotto jackpot
drawing 4, 8, 15, 16, and 23,with the mega number 42.

(The show on the air is the MEGA LOTTO JACKPOT show. Hurley looks at the ticket
in his hands with the matching numbers:
4 8 15 16 23 42

MARY JO (LOTTO GIRL): (from tv) Whoever has those numbers has won or will
share in a near-record jackpot.

(Hurley looks at the ticket in his hand. He slowly sways on his feet.)

LOTTO OFFICIAL: That's right, Mary Jo, because this is the 16th week without a
winner.

(Hurley's eyes roll to the back of his head and he crashes to the floor in a
dead faint.)

FADE OUT:



[TITLE LOGO: LOST]

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. BEACH - SAYID'S TENT - NIGHT]

(Sayid is sleeping. He rolls over and tries to get comfortable. His eyes
flutter open. He suddenly lifts his head up, surprised to find Hurley sitting
in his tent staring at him.)

HURLEY: Hi.

(Sayid lies back down on the ground. He puts a hand to his forehead.)

HURLEY: You awake?

SAYID: (mutters) I was just wondering that myself.

HURLEY: So, that French lady --

(Hurley grabs the stack of papers off the side of the table right next to him
and pulls it down to the ground in front of him.)

HURLEY: She wrote this stuff, right?

SAYID: Hurley, it's the middle of the night. What do you want?

HURLEY: Nothing. Couldn't sleep. Then I got curious. You and Shannon -- you
guys have been trying to figure out some of this stuff, and I was wondering
what, you know, you guys figured out ... about this stuff.

SAYID: What stuff?

HURLEY: I don't know. But, take these numbers she wrote down a bunch of times.

(Hurley holds up the small piece of paper with the numbers on it. Sayid turns
and glances at it. Hurley stares at the paper.)

HURLEY: Got any idea what it means?

(Sayid turns toward Hurley and sits up a little.)

SAYID: I thought at one time they might be coordinates of some kind.

HURLEY: Coordinates, yeah. When you first found her -- the French Chick -- you
said you saw a wire or something on the beach, and you followed it, and it led
you to her.

SAYID: No. It led me into trap she set.

HURLEY: But her place is probably close, right?

SAYID: Why are you suddenly so interested in Rousseau?

HURLEY: I'm not. Just, you know, making conversation, Dude. Sorry if it's a
bad time.

(Hurley puts the stack of papers back on the small table.)

HURLEY: Good night.

(He gets up and leaves. Sayid rubs his tired eyes and watches Hurley leave.)



[EXT. BEACH - NIGHT - CONTINUOUS]

(Hurley walks across the beach away from Sayid's tent. His hand is in his
pocket. He takes out his hand and pulls out with it a map and the sheet of
paper with the series of numbers on it.)

(He continues walking.)

CUE SOUNDS: CAMERAS SNAPPING

CUT TO:



[EXT. REYES' RESIDENCE - FRONT WALK -- DAY]

(A small news conference is held in front of the Reyes' residence. Cameras snap
as reporters try to get their questions in. One of the vans is for KSVU8.
Hurley stands in front of his house along with his mother and family.)

(Hurley chuckles and points to a woman reporter standing in front of him.)

HURLEY: Yeah, yeah, you.

REPORTER (WOMAN): How'd you come up with the winning numbers? Any
Significance?

HURLEY: (avoids) Oh. Uh, they just, uh ... sort of came to me.

LOTTO OFFICIAL: Why don't you introduce your family?

HURLEY: Oh, yeah. Okay. Um ...

(Hurley turns and looks at his mom. Carmen smiles shyly and shakes her head.)

HURLEY: This -- this bashful beauty is my mom Carmen. Come here, ma.

(Hurley puts his arm around his mother. He turns and introduces his brother.)

HURLEY: And this is my brother Diego and his wife Lisa.

(Diego steps up to Hurley and lets out a whoot.)

DIEGO REYES: Whoo! We're rich!

(Hurley rolls his eyes, embarrassed.)

HURLEY: Nice, dude. (to the reporters) Ignore him. He's an idiot. And, uh
...

(Hurley reaches for Grandpa Tito.)

HURLEY: Oh, you gotta meet this guy.

(He puts his arm around Grandpa Tito.)

HURLEY: This is the greatest guy I know. My grandpa Tito. He's worked three
jobs for -- how long's it been now?

GRANDPA TITO: Fifty-two years.

HURLEY: Fifty-two years. He's seventy years old, and the closest thing that
he's had to a vacation is when they put a pacemaker in him four years ago. (The
crowd chuckles.) So the first thing I'm gonna do with the money is finally give
him the rest that he's earned.

(Hurley removes his arm from his grandfather and steps aside to talk with the
reporters.)

HURLEY: 'Cause that's really what it's about for me, is to be able to do things
for the people I care about. 'Cause I really put my family through a lot
recently, and, um, well, this way I can make it up to them.

(Behind Hurley, Grandpa Tito grimaces in pain and clutches his left arm.)

(Unaware of what's happening, Hurley continues. He turns to look at his mom,
Carmen.)

HURLEY: You know, maybe even buy my mom a new house. And, uh ... maybe after my
grandpa comes back from his cruise, we can, you know, get to do some of the
things ...

(Grandpa Tito gasps and falls to the ground.)

HURLEY: ... That we always wanted to do.

(The small group of reporters gasp. Hurley turns around and finds his grandpa
on the ground, eyes closed.)

HURLEY: Grandpa?

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT.



[INT. CAVES - DAY]

(Hurley fills up several plastic water bottles with water. He's so intent on
what he's doing, he doesn't notice Charlie behind him walking into the cave.)

CHARLIE: Hey, man.

HURLEY: (startled) What? (quickly) I'm not doing anything.

CHARLIE: What?

HURLEY: What?

CHARLIE: I was just saying good morning.

(Hurley stares at Charlie for a beat.)

HURLEY: Oh, right. Good morning. (Hurley shoves the water bottle into his
bag. Charlie notices the movement.) Sorry, I was just -

CHARLIE: Going somewhere?

HURLEY: Me? No.

(Hurley grabs another huge water bottle to stick into his bag and looks at it.
He realizes how it must look.)

HURLEY: Well, yeah. Just thought I might take a walk, uh, maybe scope out
some, uh, new fishing area.

CHARLIE: Oh, hang on. I'll come with.

(Charlie turns to get his things.)

HURLEY: That's okay.

CHARLIE: No, I could really use a little bit of the fresh wide-open.

HURLEY: (firmly) Dude, I could really use some alone time right now.

(Charlie stops and stares at Hurley.)

CHARLIE: Sure.

(Finished, Hurley stands up. He grabs his bag, picking it up, but the weight of
all the water bottles inside it causes the zipper to unzip, making the four
large water bottle tumble out of his bag ... and down on the floor ... right in
front of Charlie.)

(Charlie stares at the water bottles, a different look crossing his face.)

(Hurley grabs the ends of the bag together and picks up the bottles. He heads
out.)

HURLEY: (mutters) I'm a big guy. I get dehydrated easy.

(With his bag and water bottles, Hurley walks past Charlie.)

CHARLIE: Yeah.

(Charlie watches him go.)

CHARLIE: Yeah, okay.

CUT TO:



[EXT. BEACH - DAY]

(The ocean waves gently break on the shoreline. The camera pulls back and we
see Claire sitting on the sand toying with a sprig of leaves.)

LOCKE: (o.s.) Claire. (Locke walks up to her.) You got a second?

(Claire turns and looks up at Locke. She's sitting in an airline chair propped
back against a beach log.)

CLAIRE: Uh, yeah, sure.

LOCKE: I was wondering if you were free to help me with a little project.

CLAIRE: Me?

LOCKE: Yeah.

(He takes his backpack off and kneels down next to her.)

LOCKE: I'm building something. I could use an extra pair of hands.

CLAIRE: I'm nearly nine months pregnant. I can barely waddle over to the
beach.

LOCKE: Can you hold a saw?

(She looks at him and nods.)

CLAIRE: Um, yeah.

LOCKE: Can you move your hand back and forth like that?

(He makes a slow, deliberate, sawing motion with his right hand.)

(Claire smiles, then presses her lips together to hide her smile.)

CLAIRE: Possibly.

LOCKE: You're perfect.

(Locke stands up and holds his hands out to her.)

LOCKE: Come on.

CLAIRE: Okay.

(Claire grabs Locke's hands. He helps her up. He picks up his backpack and
starts walking. Claire follows him, curious as to what he's got in mind.)

CLAIRE: So, um, what exactly are we building?

CUT TO:



[INT. CAVES - DAY]

(Jack heads for the water with an empty water bottle. Sayid walks into the
caves and heads for Jack.)

SAYID: (accusing) Where is it?

(Jack turns around slowly and looks at Sayid.)

JACK: Where's what?

SAYID: The map. I told you it won't help you find her.

JACK: Whoa, whoa, whoa. Slow down. (shakes his head) I don't have the map.

SAYID: (interrupts) What makes this worse is that you won't even do your own
dirty work. You get Hurley to do it for you.

JACK: Wait a minute. Hurley?

SAYID: He was in my tent last night quizzing me about Rousseau, about numbers
she wrote. How I came to find her.

(Sayid finally stops and looks at Jack. Jack still doesn't know what he's
talking about. He shakes his head.)

SAYID: You don't know anything about this, do you?

(Jack shakes his head again. He looks past Sayid and sees Charlie walking in
carrying a couple of logs.)

JACK: Charlie. Have you seen Hurley?

(Charlie puts the logs down.)

CHARLIE: Um, a couple of hours ago. He was heading out for a walk. Acting
like a loon, I might add.

(Jack looks at Sayid. They both come to the same conclusion.)

SAYID: My god, he's going after her.

CUT TO:



[EXT. BEACH - DAY]

(Sayid packs his bag. Shannon looks at him, worried.)

SHANNON: When are you gonna be back?

SAYID: If we can catch up to him, before nightfall. Why?

(He looks at her and teases.)

SAYID: Are you worried about me?

(She lifts her chin higher.)

SHANNON: So what if I am?

(Sayid zips his bag closed and hooks it over his shoulder. He looks at Shannon
as if he's going to say something to her, but then he's interrupted.)

JACK: (o.s.) Sayid!

(Sayid turns and sees Jack and Charlie, each with their own backpacks ready to
go. They look over at him.)

JACK: You ready?

(Sayid nods at them.)

(He turns and looks at Shannon. He reaches out and tenderly cups her cheek with
the palm of his hand.)

SAYID: (quietly) I'll be fine.

(Shannon nods. Sayid gets his pack, turns and heads over to join Jack and
Charlie. As he goes, he turns to look back at Shannon.)

CUT TO:



[EXT. BEACH - DAY]

(Hurley walks determinedly across the beach heading in the same direction Sayid
took in 1X09, Solitary.)

LYRICS:
Everybody with me, drinks on me
hey, y'all, who you came with? / Who you leavin' with?
This my line, everybody with me
hey, y'all, who you came with? / Who you leavin' with?
Everybody with me, drinks on me

CUT TO:



[EXT. STREET - DAY - FLASHBACK]

(A brand new yellow car drives by.)

LYRICS:
hey, y'all, who you came with? / Who you leavin' with?
This my line, everybody with me

CARMEN REYES: (v.o.) Hugo, turn that noise down.



[INT. CAR (MOVING) - DAY - CONTINUOUS - FLASHBACK]

(Hurley is driving, his mother's in the car with him.)

HURLEY: Oh. Sorry.

(Hurley turns the volume down.)

(Carmen sighs.)

CARMEN REYES: Where are you taking me? You know very well I don't like
surprises.

HURLEY: Oh, you're going to like this one, ma. I mean, after everything you've
been through, ... like grandpa.

(She crosses herself.)

CARMEN REYES: (in Spanish) (unsubtitled)

HURLEY: And at the funeral, Father Aguilar getting struck by lightning. (She
shakes her head.) Man, that was a freak storm. And Diego moving back home
after Lisa left him for that ... waitress.

CARMEN REYES: Don't mention that whore to me.

HURLEY: I'm just saying you deserve something good to happen.

(Hurley continues to drive. They lapse into silence.)

HURLEY: You know ... ever since I won the lottery, it's like ... we've had
nothing but bad luck. Like I don't know -- the money's cursed or something.

(Carmen whacks Hurley's arm with the back of her hand.)

HURLEY: Ow.

CARMEN REYES: That's blasphemy. You know very well we are catholic. We don't
believe in curses.

HURLEY: Jeez, ma, I'm just talking.

(Hurley looks around.)

HURLEY: Okay, we're almost there. Here. Put this on.

(He hands her a red blindfold.)



[EXT. STREET - DAY - CONTINUOUS - FLASHBACK]

(Hurley parks the car in front of a large house. He gets out and goes to open
the passenger door for his mom.)

CARMEN REYES: Why do I have to wear this?

HURLEY: Give me your hand.

(Hurley reaches to help Carmen out of the car. She's wearing the red blindfold
over her eyes.)

HURLEY: Careful.

CARMEN REYES: No, no, you - You be careful.

HURLEY: You're stepping down.

CARMEN REYES: I can't see anything.

(Carmen steps down. Hurley shuts the car door and turns toward the house with a
flourish of his hand.)

HURLEY: Okay, now take off your blindfold and get a look at your new dream
house.

(Carmen's foot misses the curb and she trips, falling to the ground.)

CARMEN REYES: (groaning) Ay! My ankle! Aah! My ankle! Aah!

(She whips the blindfold off.)

HURLEY: I said you could take off your blindfold.

CARMEN REYES: Why did you make me put that in the first place? Aah!

(She looks down at her ankle. She sniffs the air. We hear the sounds of
something burning.)

CARMEN REYES: Hugo, do I smell smoke?

(Hurley looks up and sees a fire coming from one of the second floor rooms.)

HURLEY: Aw, crap. Hang on, ma. I got to call 911.

CARMEN REYES: Yes, tell them I broke my ankle!

(Hurley dials.)

(Sirens wail. Hurley turns around and sees two officer cars driving toward
him.)

(He glances at the phone.)

(Two officers step out of the car and point their weapons at him. Carmen stares
at the officers aghast.)

OFFICER: Drop the phone. Move away from the vehicle.

HURLEY: No, no, no, it's the house. This is a mistake.

(Hurley points to the house.)

OFFICER: Do it now!
OFFICER: Turn around!

(One officer grabs Hurley and pushes him toward the car. He cuffs him. Carmen
stares at him speechless.)

HURLEY: No such thing as curses, huh, ma?

OFFICER: You have the right to remain silent. If you give up that right,
anything you say can and will be used against you in a court of law.

(Long shot of the scene in front of the house: Hurley is being arrested while
black, billowing smoke rises out from the burning second floor of his brand new
house.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. BEACH - DAY -- PRESENT]

(Camera pans along the cable resting on the sand on the beach. We hear Hurley
walking toward the cable. He stops and picks it up.)

(He's found it. He looks toward the island.)

HURLEY: (shouts) Yo! French chick!

(There's no answer. Hurley starts following the cable into the island.)

KEN HALPERIN (ACCOUNTANT): (v.o.) I would think you'd be happy.

CUT TO:



[EXT. DOWNTOWN BUILDINGS (STOCK) - DAY - FLASHBACK]

(Camera pans down the downtown office building at the street below.)

KEN HALPERIN (ACCOUNTANT): (v.o.) Every one of your stocks is up.



[INT. BUSINESS OFFICE - DAY - FLASHBACK]

(Camera moves from the tall office buildings outside and rests on Hurley looking
out of the office window. He's meeting with his accountant, but he looks less
than thrilled, dark thoughts occupies his mind.)

KEN HALPERIN (ACCOUNTANT): Your interest in orange futures skyrocketed after
those tropical storms hit Florida, and you are now the majority shareholder for
a box company in Tustin.

(Hurley turns and looks at his accountant.)

HURLEY: A box company?

KEN HALPERIN (ACCOUNTANT): Mm-hmm. They make boxes. Lucrative business.
Everybody needs boxes. Which reminds me -- your sneaker factory in Canada --

HURLEY: I have a sneaker factory in Canada?

KEN HALPERIN (ACCOUNTANT): Well, not anymore. It was destroyed in a fire last
month.

(Hurley sits down.)

HURLEY: Of course it was.

KEN HALPERIN (ACCOUNTANT): You might have read about it. Eight-something
people died. But the good news is we over-insured it. It's going to yield you
a windfall of cash. And when we add in the generous settlement from the LAPD
for your false arrest, you've almost doubled your net worth in a few short
months. I still can't imagine how the police mistook you for a drug dealer.

HURLEY: Bad luck.

KEN HALPERIN (ACCOUNTANT): Hugo, you are not the first lottery winner to
believe the money's brought them nothing but trouble. It's all in your head.

HURLEY: What, you don't believe in jinxes? You know, curses?

KEN HALPERIN (ACCOUNTANT): I'm an accountant. I believe in numbers. Hey,
where'd you get them, anyway?

HURLEY: What?

KEN HALPERIN (ACCOUNTANT): The winning numbers. What'd you use -- somebody's
birthday? Phone number.

HURLEY: Nah, it's nothing. It's just something that I, uh ...

(Something occurs to Hurley.)

KEN HALPERIN (ACCOUNTANT): What?

(The more he thinks about it, the more it makes sense.)

HURLEY: That's it. It's not the money. It's the numbers. The numbers are
cursed.

(His accountant gives him a disbelieving look.)

HURLEY: Dude, don't look at me like that. I'm not crazy. This is really --

KEN HALPERIN (ACCOUNTANT): Come on, Hugo, listen to yourself. "The numbers are
cursed." You know there is no such thing as a -

MAN: Aah!

(A screaming man falls down past the office window.)

(Hurley stares.)

(Ken Halperin turns around to look at the window behind him.)

(Camera holds on Hurley.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT



[EXT. BEACH - BOAT SITE - DAY - PRESENT]

(Michael is working on rebuilding the boat. He's banging a piece of metal onto
the tied bamboo. A lot of people are working on building the boat.)

(But not Sawyer. He sits on the edge of the beach reading a book, "A Wrinkle
in Time", by Madeleine L'Engle. He rubs his forehead and grits his teeth trying
to ignore the noise as he reads his book.)

(Finally he sighs.)

SAWYER: You want to hit that a little harder?

MICHAEL: I'm sorry. Is my building a raft to get us rescued bothering you?

SAWYER: At the moment, yeah.

WALT: Why aren't you helping?

(Michael walks over to Sawyer.)

SAWYER: I am helping, short round -- keeping watch for arsonists.

MICHAEL: Walt's got a point. You could pitch in, seeing as how you've already
bought your ticket.

(Suddenly, the stack of already tied bamboo rods falls apart and tumble down
onto the sand near Michael who has to step aside to avoid getting hit.)

(Michael turns and looks at Jin who is speaking loudly in Korean.)

JIN: (in Korean) (yelling)

(Michael looks at the mess and yells back.)

MICHAEL: Did you tie this like I told you?

JIN: (in Korean) (yelling)

MICHAEL: 'Cause if you'd have tied it like I said, the thing would still be
together!

(Not wanting to hang around and listen to the yelling, Sawyer stands up and
leaves.)

[LONG SHOT ON MICHAEL & JIN]

MICHAEL: What's the matter with you, man? What is your problem?

(Camera pulls back and we see Sun watching them.)



[SUN AND KATE]

(Over across the sands within distance of the men working on the boat, Sun
watches Jin. Kate sits next to her.)

SUN: He's never going to speak to me again.

KATE: He just needs time.

(Sun turns and looks at Kate.)

SUN: I humiliated him.

(The two share a look.)

SUN: (sadly) When the raft sails ... do you think he's going to leave with
them?

KATE: I don't know.

CUT TO:



[EXT. JUNGLE - DAY]

(Hurley continues to follow the cable in-land.)

(He comes to a small clearing and stops. He listens and we can hear flies
buzzing, their volume indicating there's a lot of them near.)

(Hurley looks up and sees a piglet carcass hanging suspended din the air. Flies
buzz where the flesh on its back is exposed.)

(Hurley turns and continues to follow the cable through the jungle.)

(He takes several steps, then stops when he hears the squeak of metal under his
feet.)

(He looks down and finds himself standing on a circular piece of metal partially
covered by dirt and leaves. He's about to continue on when ... )

SAYID: (o.s.) Don't move!

(Hurley turns around and sees Sayid nearby. Charlie is with him.)

HURLEY: Hey, what are you guys --

SAYID: (interrupts) Hurley, do not move. You're standing on a pressure
trigger. If you take your weight off it, it will release that.

(Sayid points up. Hurley looks up and sees a dangerous-looking roll of pointed
tree branches attached to a nearby tree.)

HURLEY: Oh, man.

(Jack and Charlie also look at the booby trap.)

SAYID: We need to find something to replace his weight on the trigger.

CHARLIE: (incredulous) Replace his weight? How are we going to do that?

HURLEY: Hey!

SAYID: Don't move!

JACK: Everybody, just calm down.

HURLEY: Can I drop the wire?

CHARLIE: Maybe I can find a rock or something ...

SAYID: Yes, a big one.

HURLEY: I'm dropping the wire.

JACK: Hurley, no!

(Hurley drops the cable. He squeezes his eyes tightly shut. The cable hits the
metal plate with a thud.)

(Jack and Sayid both freeze. There's a pregnant pause as they wait. Nothing
happens.)

(Hurley blinks and looks up at the spikes up above him considering it.)

HURLEY: I can make it.

JACK: Hurley, don't move!

CHARLIE: No!

HURLEY: I can get out of the way. I'm spry.

(Dear God, he's going to do it. Charlie and Jack shout at Hurley while Sayid
gets ready for anything.)

CHARLIE: Hey!
JACK: Hurley, stay put!
CHARLIE: Hey! No, wait!
JACK: Hurley!
JACK: Hurley! Don't even --

CHARLIE: No, wait!

(Suddenly, Hurley dives to the side. The trigger is released. Hurley hits the
ground with a thud and a heartbeat later, the dangerous-looking spikes swing
harmlessly past him.)

(Sayid and Charlie jump out of the spikes way as it swings near them. They're
clear ... for the moment.)

CHARLIE: (shouts) Hurley, what the bloody hell is wrong with you?!

(Jack puts a hand out and stops the spikes from swinging.)

HURLEY: Nothing.

(Hurley gets up.)

JACK: What are you doing out here, man?

(Hurley looks at Jack. He glances at Sayid and Charlie.)

HURLEY: I came to get a battery.

JACK: Hurley, seriously. What's going on?

HURLEY: (seriously) Nada. (He looks at Sayid and Charlie) You guys coming?

(Charlie looks at Sayid who is considering Hurley.)

SAYID: You all want to go? Fine. But perhaps I should take the lead.

(Sayid steps forward and grabs ahold of the cable. He continues inland.)

CHARLIE: Excellent notion.

(Charlie follows him. Jack and Hurley also head out.)

CUT TO:



[INT. PSYCHIATRIC HOSPITAL - ADMISSIONS -- DAY - FLASHBACK]

(Hurley is at the admissions desk talking with a nurse.)

HURLEY: Lenny. His name is Lenny. Or Leonard.

NURSE: But you don't know his last name.

HURLEY: Look, I just need to talk to him for five minutes.

(Hurley glances to the side and sees a maintenance man holding a light bulb,
climbing up a tall shakey ladder.)

NURSE: I'm sorry, but if you can't tell me the patient's name, sir, I can't
very well look it up.

HURLEY: How many Leonard's are here? Just -- can't you just type in "Leonard"?
I mean, the guy's been here for, like, ever. He knows me.

(Hurley again looks over at the Maintenance Man who is stretched out to the side
of the shakey ladder and reaching over to the small hanging light fixture to
change the dead bulb.)

NURSE: Our records are private, sir, and anybody --

(Hurley can't take it any more.)

HURLEY: (loudly) Dude! Do not do that right now! Leave the bulb for another
time, man.

(The Maintenance Man looks at Hurley and stops. He starts getting down from the
shakey ladder.)

(Hurley turns back to the nurse.)

HURLEY: Five minutes. All I need is five minutes.

DR. CURTIS: (o.s.) Hugo?

(Hurley turns around and finds Dr. Curtis standing near him.)

HURLEY: Oh, hey, Doc.

DR. CURTIS: It's good to see you. What are you doing back here?

HURLEY: Uh...

SHORT TIME CUT TO:



[INT. PSYCHIATRIC HOSPITAL - RECREATIONS ROOM -- DAY - FLASHBACK]

(The Recreations Room is filled with patients. Leonard Simms sits at table with
a game of Connect Four. He places the red and black pieces in the slots in
alternating colors while grunting rhythmically.)

DR. CURTIS: (o.s.) I don't remember you and Leonard being that close, Hugo.

HURLEY: (o.s.) Yeah, well, we hung.

DR. CURTIS: (o.s.) I'll leave you gentlemen to it, then. Good luck, Hugo.

(Hurley and Dr. Curtis stand just inside the door. Dr. Curtis turns and leaves.
Hurley walks over to Leonard Simms who continues to grunt rhythmically. Hurley is
wearing a badge that's labeled:
SANTA ROSA
*** INSTITUTE
VISITOR )

(Hurley looks at Leonard Simms.)

HURLEY: Hey, Lenny.

(Leonard Simms drops a piece in the game and continues to grunt rhythmically.)

HURLEY: Remember me?

(Leonard Simms doesn't respond to Hurley.)

HURLEY: Hugo.

(Hurley sits down opposite Leonard.)

HURLEY: Hurley.

(Leonard drops another piece into the game.)

HURLEY: Well, I was -- I was just, you know, in the neighborhood, and, um ...

(Leonard drops a red piece into the slot while grunting rhythmically. Hurley
watches as he picks up a black piece and drops it in the next slot. He
continues to pick up pieces and drop them in the slots.)

(Suddenly, Hurley leans forward.)

HURLEY: Look, Lenny, I got to know -- what do the numbers mean?

(Leonard starts speaking rhythmically.)

LEONARD SIMMS: 4, 8, 15, 16, 23, 42, 4, 8, 15, 16, 23, 42 ...

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[INT. PSYCHIATRIC HOSPITAL - RECREATIONS ROOM -- DAY - FLASHBACK]

(Leonard drops a red piece in the slot. He continues to speak rhythmically.)

HURLEY: Come on, Lenny, give me something. Anything. Where'd you get the
numbers?

LEONARD SIMMS: 4, 8, 15, 16, 23, 42 ...

HURLEY: Is that why you're here, Lenny? 'Cause of the numbers? Did they do
something to you? 'Cause I think they did something to me. I think it turned
me into a jinx. Bad news to everyone around me. And when I tell people I think
I'm the cause, they -- they -- they look at me like I'm nuts. They don't
believe me. But I know. Ever since I won the lottery with those numbers.

(Leonard looks clearly at Hurley; he stops grunting.)

LEONARD SIMMS: You used those numbers to play the l-lottery?

(uh, oh.)

HURLEY: Uh ... yeah.

LEONARD SIMMS: You shouldn't have done that. (shouts) You've opened the box!

HURLEY: I what?

(Leonard pushes his chair out and stands up.)

LEONARD SIMMS: (shouting) You shouldn't have used the numbers!

HURLEY: Why not?

LEONARD SIMMS: (shouts) It doesn't stop! You got to get away from those
numbers! You got to get far, far away! Do you hear me?!

(An Orderly appears and grabs Leonard.)

ORDERLY: All right, hey. Hey. Whoa, whoa, slow down.

LEONARD SIMMS: Oh, don't you understand?! You got to get away from them or it
won't stop!

ORDERLY: Len-Lenny. Try and calm down.

(Hurley gets to his feet.)

HURLEY: Wait a sec, wait a sec. I need some answers.

(The Orderly pushes Hurley aside.)

ORDERLY: Sir, sir. You need to step away.

(The Orderly grabs Lenny and guides him toward the door.)

HURLEY: Lenny, the numbers! Where'd you get them?

LEONARD SIMMS: (shouts over his shoulder) Sam Toomey! He heard them!

HURLEY: Who's Sam Toomey?

LEONARD SIMMS: He heard them in Kalgoorlie.

HURLEY: What's Kalgoorlie?

(The Orderly and Leonard are at the door.)

LEONARD SIMMS: It's a town where we used to work.

HURLEY: A town where?

(The Orderly pulls Leonard out the door.)

LEONARD SIMMS: In Australia!

(The Orderly drags Leonard down the hall.)

LEONARD SIMMS: (moans loudly) Oh, god! Aah!

(The door closes behind them and shuts with a click.)

(Camera holds on Hurley looking suddenly, very sick.)

CUT TO:
END OF FLASHBACK.
RESUME TO PRESENT.



[EXT. JUNGLE - DAY - PRESENT]

(Sayid has followed the cable to its end. Or beginning.)

SAYID: It stops here. It goes into the ground. (He shows the cable going to
the ground. He pushes some leaves aside. He looks up.) This poses somewhat of
a problem.

CHARLIE: (o.s.) Guys, you should come see this.

(Jack is capping his water bottle. He, Hurley and Sayid look over at Charlie
who is standing just out of camera frame.)

(Sayid stands up and walks over to Charlie. The others follow.)



[CHARLIE]

(Charlie is standing over looking something, his hand on a piece of wood. Sayid
appears out of the bushes, his gaze immediately catching what Charlie sees.
Sayid is surprised. He glances at Charlie, then back at what they're looking
at.)

(Hurley appears out of the bushes and sees what's gotten their attention.)

HURLEY: Whoa.

(Jack steps out from the bushes.)

[LONG SHOT]

(Charlie has discovered a flimsy rope and wood bridge.)

JACK: You never mentioned anything about a bridge.

SAYID: I never saw this before.

(As they talk, Hurley looks at the bridge. He considers it.)

JACK: There's no way she could have built this all by herself.

SAYID: No, but her team could have.

CHARLIE: Or Ethan's team.

(Hurley walks over to the bridge intending to cross it. He steps onto the
bridge.)

JACK: (alarmed) Hurley, what are you doing?

HURLEY: Relax. I'm just going to check it out. You guys should stay here.

JACK: Hurley, get back here!

HURLEY: Dudes, chill.

(Hurley doesn't look back. He starts crossing the bridge.)

(Unable to stop him, Jack steps back and watches with Sayid and Charlie.)

(Step by precarious step, the aged wood squeaks under Hurley's feet as he
cautiously crosses the bridge.)

(Halfway there. Jack and Sayid hold their breaths as Hurley continues. Birds
caw above them.)

(Charlie watches as Hurley safely reaches the other side. Hurley turns around
and looks at them. He smiles.)

(Jack, Sayid and Charlie all start to breathe again.)

(While they're busy breathing, Jack and Sayid don't notice that Charlie has a
determined look on his face. He steps toward the bridge.)

JACK: Charlie.

SAYID: Hey!

CHARLIE: (over his shoulder) Hey, if he can do it ...

(On the other side of the bridge, Hurley waits.)

(Charlie starts crossing the bridge.)

(Unable to stop him, Jack and Sayid hold their breaths and watch. Step by
precarious step, the aged wood squeaks under Charlie's feet as he cautiously
crosses the bridge.)

(Halfway there. Charlie looks at Hurley and continues. Jack and Sayid watch.)

(Nearly there, the bridge rope snaps.)

JACK: Charlie!
SAYID: Move!

(Hurley holds out his hand as Charlie starts running toward him.)

JACK: Charlie!

(Charlie goes for broke, dives and reaches the other side safely. The bridge
falls.)

HURLEY: Dude, you okay?

(Hurley helps Charlie to his feet.)

(On the other side, Jack and Sayid breathe again.)

CHARLIE: (shouts) I'm okay!

(Charlie smiles and clasps his hands triumphantly above his head.)

CHARLIE: Whoo!

JACK: (firmly) All right, you two stay put right there. We're going to find a
way around, and we'll meet you there.

HURLEY: Nah, screw that. You guys stay. There's a path right here. Charlie --

CHARLIE: (shouts) Hurley, will you shut up and listen to Jack?! He said stay
put! You're acting like a bloody lunatic!

(Tired from the excitement, Charlie pants as he catches his breath. Hurley
stares at Charlie.)

CUT TO:



[EXT. (AUSTRALIA) SAM TOOMEY'S RESIDENCE - MIDDLE OF NOWHERE -- (STOCK) - DAY -
FLASHBACK]

(Birds caw.)

CUE SOUND: KNOCK ON DOOR



[EXT. (AUSTRALIA) SAM TOOMEY'S RESIDENCE - FRONT PORCH -- DAY - CONTINUOUS -
FLASHBACK]

(The door opens. A woman answers the door.)

MARTHA TOOMEY: If this weren't the middle of nowhere, I'd say you were lost.

HURLEY: Hi, is this Sam Toomey's house?

MARTHA TOOMEY: It is. I'm his wife.

HURLEY: Well, is he around? 'Cause I'd kind of like to talk to him.

MARTHA TOOMEY: I'd like that, too, but Sam's been dead for four years.

(Camera holds on Hurley's disappointment.)

HURLEY: (v.o.) Your husband worked with a guy I know -

CUT TO:



[INT. (AUSTRALIA) SAM TOOMEY'S RESIDENCE - LIVING ROOM -- DAY - CONTINUOUS -
FLASHBACK]

HURLEY: -- Leonard Simms.

(Martha Toomey carries in a couple of tea cups into the living room.)

MARTHA TOOMEY: That's right. They served together in the U.S. Navy. How is
Leonard? Still in the service?

(She hands Hurley a cup of tea.)

HURLEY: Uh, he's, um ... retired.

(Hurley stares at his cup. Martha sits down. She smiles at him.)

HURLEY: Anyway ... he told me about Sam ... hearing something.

MARTHA TOOMEY: Oh. You're talking about the numbers.

HURLEY: Yes. The numbers. Exactly. Do you know anything about them?

MARTHA TOOMEY: Sam and Leonard were stationed at a listening post monitoring
long wave transmissions over the pacific. Boring job. Sam hated it. Nothing
to do but listen to static night after night -- till one night, back sixteen
years ago, there's something in the static. A voice cuts through -- a voice
repeating those number over and over again.

(Mesmerized, Hurley nearly drops his tea cup. He catches himself and the tea
cup clinks against the saucer.)

MARTHA TOOMEY: Couple of days later, we're at the fair in Kalgoorlie, and some
Wally there's got this jar. Must have been big as a pony, and it's filled to
the rim with beans. Filly's offering fifty grand to anyone able to guess how
many beans are in that jar within ten.

HURLEY: Sam used the numbers.

MARTHA TOOMEY: Yep. The answer was exact to the bean. Man had been running
the same scam for forty years. Nobody'd ever come close. (She shrugs.) So we
won the money. On the way home, a pickup truck blows a tire on the highway,
hits us head-on. Lost my leg that night.

(She lifts the hem of her skirt to show Hurley her artificial leg.)

HURLEY: What about Sam?

MARTHA TOOMEY: Barely a scratch. Most people would consider themselves lucky,
but not him.

(She stands up and walks over to Hurley.)

MARTHA TOOMEY: He was never the same after that. He started keeping a record.

(She sits down and opens the book to show Hurley.)

MARTHA TOOMEY: Anything terrible that happened to anyone around us --he
believed it was all because he used those numbers. He moved us out herein the
middle of nowhere, hoping it would stop.

HURLEY: Did it?

(She looks at him.)

HURLEY: Did he ever find a way to make it stop?

MARTHA TOOMEY: Yep. (She closes the book and sets it aside.) He put a shotgun
in his mouth and pulled the trigger.

(Hurley looks away.)

MARTHA TOOMEY: What is it you're looking for, Mr. Reyes?

HURLEY: I used them -- the numbers -- to win the lottery. And now I think I'm
under the same curse.

MARTHA TOOMEY: Curse? There's no curse.

HURLEY: But you just told me --

MARTHA TOOMEY: (scoffs) You think I'd still have my leg if Sam hadn't have
picked the right number of beans? You think that floods wouldn't have happened,
that -- that homes wouldn't have burned down, that people wouldn't have died?

HURLEY: Well, yeah.

MARTHA TOOMEY: You make your own luck, Mr. Reyes. Don't blame it on the damn
numbers. You're looking for an excuse that doesn't exist.

(Not liking the answer at all, Hurley clenches his jaw and looks away.)

CUT TO:
END OF FLASHBACK
RESUME TO PRESENT.



[EXT. JUNGLE - CLAIRE & LOCKE - DAY - PRESENT]

(Locke has a piece of whatever he's building.)

CLAIRE: It's a trap, right? For catching animals?

(Claire sits on the ground nearby guessing what they're making as she saws
pieces of wood for Locke.)

LOCKE: Pass me that cup, please?

(He points. Claire picks up the coconut cup and looks inside before handing it
to Locke.)

CLAIRE: Ew, what's this gunk?

LOCKE: Glue.

CLAIRE: Where'd you find glue?

LOCKE: I made it out of rendered animal fat.

CLAIRE: You made glue?

(Locke starts putting the glue on the tips of the wooden piece.)

CLAIRE: Wow. You should have one of those shows where you, uh, fix up houses
for people.

LOCKE: (chuckles) I don't think so.

CLAIRE: Thanks. For this -- giving me something to do. I'm, uh, tired of
trying to remember what happened to me out there.

LOCKE: How's that coming? (He looks at her.) Your memory?

CLAIRE: Bits and pieces here and there. Nothing that makes any real sense.

LOCKE: Well, maybe I can help. I'm good at putting bits and pieces together.

(He looks at Claire, a smile in his eyes. Claire smiles back. Locke continues
to work.)

CUT TO:



[EXT. JUNGLE - SAYID & JACK - DAY]

(Sayid and Jack make their way through the jungle brush. They come to a
clearing and Sayid slows down. He looks around and recognizes the area. In the
background, we hear questionable sounds that could be real or part of Sayid's
memory.)

(Jack notes how still Sayid has become.)

JACK: What?

SAYID: This is familiar --this area. We're close.

(Jack walks up to Sayid.)

JACK: How do you know? I thought she lived underground.

(Jack walks past Sayid.)

(He triggers a trip wire. We hear a metal chink sound.)

SAYID: Jack!

(Just beyond Jack, the ground explodes.)

CUT TO:



[CHARLIE & HURLEY]

(At the sound of the explosion, Charlie and Hurley turn and look behind them.)

(We hear the sounds of flapping wings.)

CHARLIE: What the hell was that?

(Camera swings around and focuses on Hurley as he looks around.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. JUNGLE - JACK & SAYID -- DAY]

(Jack and Sayid are down in what used to be Danielle's shelter. They look
around the area.)

JACK: Hell of a security system. Somebody trips a wire, and the whole place
blows up.

(Sayid steps forward.)

SAYID: There's nothing here.

JACK: The batteries?

SAYID: Nothing.

JACK: I don't get it.

(Sayid considers it.)

SAYID: She knew. She knew that one day I'd come back and bring others. So she
abandoned this place, booby-trapped it, and moved on.

JACK: Moved on where?



[HURLEY AND CHARLIE]

(Hurley and Charlie are heading back toward the area where they heard the
explosion.)

HURLEY: Jack! Sayid!

CHARLIE: Do we even know where we're going?

HURLEY: The blast sounded like it came from this way, I think.

CHARLIE: But you don't know.

HURLEY: Dude, what do you want from me?

CHARLIE: What do I want? I wanna know what we're doing in the middle of
nowhere. And don't tell me it's because of some stinking batteries. One minute
you're happy-go-lucky good-time Hurley and the next you're Colonel Bloody Kurtz.
It just doesn't make any sense. It's not you.

HURLEY: Dude, you don't know me.

CHARLIE: Well, all this time on the island, you've told me nothing about
yourself.

HURLEY: We all got personal stuff, Dude.

CHARLIE: Don't change the subject. We're lost out here. Jack and Sayid could
be hurt, if not blown to bits, all because you're acting like some bloody
nutter.

(Hurley stops and turns around. He takes a step toward Charlie. Charlie takes
a step back.)

HURLEY: I am not crazy. I've got my reasons for --

CHARLIE: (interrupts) I think I have a right to know.

(Hurley stares at Charlie.)

HURLEY: Okay. All right, you wanna know?

CHARLIE: (nods) Yeah.

HURLEY: About a year ago, -- (audio off as he mouths something we can't hear)
--

(A gunshot fires; the bullet hitting the trees just behind Charlie.)

(In the background, wings flap, birds caw.)

(Charlie turns and looks at Hurley.)

HURLEY: (quietly) Is someone shooting at us?

(A second gunshot fires; the bullet hitting the trees again.)

(Hurley and Charlie run. Hurley runs in one direction. Charlie takes off in
another direction. Both run as fast as they can to get away from whomever is
shooting at them.)

(Hurley runs and runs and trips and falls to the ground and gets back up on his
feet and takes a couple of steps before stopping in front of the muzzle of a
rifle pointed at him.)

HURLEY: Oh!

(He steps back a little, his hands going up in surrender.)

(Danielle Rousseau holds her rifle on Hurley.)

HURLEY: You must be the French Chick.

DANIELLE ROUSSEAU: Who are you?

HURLEY: Hurley. I, uh, -- Sayid -- that guy you tortured -- he, uh ...

DANIELLE ROUSSEAU: (interrupts) You were on the plane.

HURLEY: Look, I came here to find -

(Hurley reaches for something in his pocket. Alarmed by the movement, Danielle
lifts the rifle and points it at Hurley.)

HURLEY: Oh, easy, easy. Easy. I'm -- I'm just getting your notes.

(Hurley takes out the sheet of crumpled paper. He holds it out to Danielle.)

HURLEY: Please ... tell me why you wrote this. What do these numbers mean,
please?

DANIELLE ROUSSEAU: I don't know.

HURLEY: What?

(He can't believe it.)

HURLEY: (frustrated) You don't know? Okay, that thing in the woods, maybe
it's a monster, maybe it's a pissed-off giraffe. I don't know. The fact that
no one is even looking for us - (As Hurley gets angrier and angrier, he gets
louder and louder.) Yeah, that's weird. But I just go along with it 'cause I'm
along for the ride -- good old fun-time Hurley. Well, guess what -- now, I want
some freakin' answers!

(Hurley holds the paper out to Danielle.)

(Danielle stares wide-eyed at Hurley.)

(She puts her rifle down.)

DANIELLE ROUSSEAU: Our ship picked up a transmission -- a voice repeating those
numbers. We changed course to investigate. After we shipwrecked, my team
continued to search for the transmission source. It was weeks before we found
the radio tower.

HURLEY: There's a radio tower on this island?

DANIELLE ROUSSEAU: Yes. Up by the Black Rock. Some of us continued to search
for the meaning of those numbers while we waited for rescue. But then the
sickness came. When my team was gone, I went back up to the tower and changed
the transmission.

HURLEY: That distress signal we heard.

DANIELLE ROUSSEAU: Yes.

HURLEY: But the numbers -- did you ever find out anything about them? Do you
know where they got their power?

DANIELLE ROUSSEAU: Power?

HURLEY: They bring bad stuff to everyone around you. They're cursed. You know
that, right? The numbers -- they're cursed.

(Danielle considers it.)

DANIELLE ROUSSEAU: The numbers are what brought me here. It appears, they
brought you. Since that time, I've lost everything -- everyone I cared about.
(whispers) So, yes, I suppose you're right. They are cursed.

HURLEY: (softly) Thank you. (relieved) Thank you. You have no idea how long
I've been waiting for someone to agree with me. (voice hitches) Thank you.
Oh, god, thank you.

(Hurley steps forward and hugs Danielle tightly to him as he cries.)

HURLEY: Thank you so much.

CUT TO:



[EXT. JUNGLE - DAY]

(Sayid places a lantern into the burning fire. Jack walks over to him.)

JACK: We need to find Hurley and Charlie and get out of this jungle. I just
hate that we're going home empty-handed.

(Sayid kneels down and picks up a torn photo. It's his photo of Nadia. He
looks at it.)

CHARLIE: Hey.

(Charlie stumbles in to the clearing through the bushes.)

CHARLIE: Hey, someone shot at us --Hurley and me. We were looking for you, and
--

(Sayid turns and looks at Jack.)

JACK: Where's Hurley?

CHARLIE: I don't know. He was right behind me, then he just -- he just wasn't.

(Sayid starts to remove his backpack.)

SAYID: I'll go and find him.

JACK: No, no, no, we'll all go.

(Sayid slings his pack back over his shoulder. Jack starts out.)

HURLEY: (o.s.) Go where?

(They all turn as Hurley steps into the clearing.)

CHARLIE: Hurley, what the hell happened to you?

(Hurley digs into his backpack and takes out a battery. He hands it to Jack.)

HURLEY: Need a battery?

(Hurley turns and looks at Sayid.)

HURLEY: (to Sayid) She says, "hey".

(Hurley turns and starts walking away from the area leaving Sayid, Charlie and
Jack behind.)

(Jack looks down at the battery in his hand. He looks at Hurley, then back at
Sayid and Charlie. Jack smiles and starts following Hurley.)

(Charlie ... and then Sayid follow.)

FADE OUT.

(COMMERCIAL SET)



FADE IN.

[EXT. BEACH - NIGHT]

(Jin carries a torch and follows Michael, a roll of branches slung over his
shoulders, as they walk across the beach camp.)

(They stop as Hurley, Jack, Charlie and Sayid return. Jack pats Michael on the
arm as he walks by. Sayid stops in front of Michael and hands him the battery.)

(Michael takes the battery. Sayid walks away. Michael looks at the battery,
then back at Jin.)



[LOCKE AND CLAIRE]

(It's dark. Locke and Claire are still working on Locke's project.)

LOCKE: You think of a name yet?

CLAIRE: Huh?

LOCKE: For the baby.

CLAIRE: I haven't really thought about it. (She's quiet for a moment.) I was
gonna give it away. (Locke stops and looks at Claire.) You know, for adoption.

(He continues to work.)

LOCKE: That must have been a difficult decision.

CLAIRE: Yeah. Well, doesn't matter now. It's my birthday today.

(Locke looks at Claire.)

LOCKE: Well, why haven't you told anyone?

CLAIRE: I'm pregnant, single, and on an island in the middle of nowhere. It
doesn't really matter that it's my birthday, does it?

LOCKE: I guess not. At least your birthdays will be close together -- you and
your baby --and that's good luck.

CLAIRE: Yeah? You think?

LOCKE: Yeah, I do.

CLAIRE: You believe in that ... luck?

(Locke looks at Claire.)

LOCKE: I believe in a lot of things.

(He smiles.)

LOCKE: That should do it.

(He rests his hands on the pieces of wood in front of him. Claire looks at it,
still puzzled by what he's made.)

CLAIRE: Okay, I give up. What is it?

(Locke smiles. He grabs it and turns it over. He rests it on the worktable
between them.)

(Claire smiles. Locke rocks it back and forth.)

CLAIRE: It's a cradle.

LOCKE: Happy birthday, Claire.

CLAIRE: Thank you.

(Locke smiles and nods.)



[CHARLIE & HURLEY]

(Hurley is holding his shirt by two sticks over the fire. He stares quietly at
it, watching it dry. Behind him, we hear Charlie's footsteps in the sand.)

CHARLIE: I know food's scarce, but your shirt?

HURLEY: When you find a laundromat, let me know.

(Charlie sits down next to Hurley.)

CHARLIE: Back in the jungle, before we became target practice, you were gonna
tell me what inspired this little ... quest.

(Hurley removes the shirt from the fire and sets the stick firmly in the sand
nearby.)

HURLEY: I think the plane crash might have been my fault.

CHARLIE: Don't be daft. How could you possibly --

HURLEY: (interrupts) Hey, before we came here, a lot of bad stuff used to
happen whenever I was around.

CHARLIE: What do you mean, like bad luck?

HURLEY: Yeah, that's -- that'd be kind of a mellow way of describing it.

CHARLIE: Hurley, bad things happen. Planes crash, people die.

HURLEY: Dude, you really oughta let me finish.

CHARLIE: You think you're the only person with baggage?

(He looks at Hurley.)

CHARLIE: You know what I was doing when the plane went down? I was snorting
heroin in the toilet. I was such a junkie, I couldn't even take a plane ride
without having a fix. I suppose that was your fault as well.

(Hurley turns quiet and looks away.)

CHARLIE: So how 'bout it?

HURLEY: What?

CHARLIE: I just told you the biggest secret in my life. I thought you'd wanna
reciprocate.

(Hurley considers it for a long moment. Charlie looks away, waiting.)

HURLEY: Okay. (Charlie turns and looks at Hurley.) Back home ... I'm worth
$156 million.

(Charlie looks at Hurley.)

(There's a long pause. Charlie smiles tightly. He nods.)

CHARLIE: Fine. Don't tell me.

(Charlie gets up.)

HURLEY: Dude.

CHARLIE: (upset) I bare my soul, and all I get is bloody jokes.

(Charlie walks away leaving Hurley alone at the fire.)

CUT TO:



[THE HATCH]

(Night. Camera starts on the hatch. Slowly, it pushes in for a close up
of a particular part of the hatch.)

(Under the lid on the side just above the dirt are the following numbers etched
into the metal:

4 8 15 16 23 42

SMASH CUT TO:



[TITLE LOGO: LOST]

FADE TO BLACK.

==========================
THE END
==========================

[Captions by Vitac Captions paid for ABC, Inc. and Touchstone Television]

Courtesy of http://anthology.webphilia.com/

Contact the Transcriptionist at (intrepidly002@yahoo.com)

Do not archive or distribute this transcript without permission from the
Transcriptionist.

==========================
TITLE/OPENING CREDITS
==========================
LOST
1X18: NUMBERS
ORIGINAL AIR DATE ON ABC: 03/02/2005
TRANSCRIBED FROM ABC

Starring:
NAVEEN ANDREWS as Sayid
EMILIE DE RAVIN as Claire (Littleton)
MATTHEW FOX as Jack (Shephard)

JORGE GARCIA as "Hurley" (Hugo Reyes)
MAGGIE GRACE as Shannon (Rutherford)
JOSH HOLLOWAY as "Sawyer" (James Ford)

MALCOLM DAVID KELLEY as Walt
DANIEL DAE KIM as Jin (-Soo Kwon)
YUNJIN KIM as Sun (Kwon)

EVANGELINE LILLY as "Kate" (Katherine Austin)
DOMINIC MONAGHAN as Charlie (Pace)
TERRY O'QUINN as (John) Locke

HAROLD PERRINEAU as Michael (Dawson)
IAN SOMERHALDER as Boone (Carlyle)

(uncredited)
MADISON as Vincent

Created by: JEFFREY LIEBER and J.J. ABRAMS & DAMON LINDELOF

Guest Starring
MIRA FURLAN as Danielle Rousseau (The French Chick)
LILLIAN HURST as Carmen Reyes
JAYNE TAINI as Martha (Toomey)

Music by: MICHAEL GIACCHINO
Edited by: MARY JO MARKEY, A.C.E.
Production Designer: STEPHEN STORER

Director of Photography: JOHN BARTLEY

Executive Producer: J.J. ABRAMS
Executive Producer: DAMON LINDELOF
Executive Producer: BRYAN BURK
Executive Producer: JACK BENDER
Executive Producer: CARLTON CUSE

Co-Executive Producer: DAVID FURY
Co-Executive Producer: JESSE ALEXANDER
Supervising Producer: JAVIER GRILLO-MARXUACH

Producer: EDWARD KITSIS
Producer: ADAM HOROWITZ

Producer: LEONARD DICK
Producer: SARAH CAPLAN
Produced by: JEAN HIGGINS

Written by DAVID FURY & BRENT FLETCHER
Directed by DANIEL ATTIAS

==========================
END & OTHER CREDITS
==========================

Bad Robot
Touchstone Television

Co-Producer: RA'UF GLASGOW
Co-Producer: JENNIFER JOHNSON

Story Editor: PAUIL DINI

Co-Starring:
RON MARASCO as Ken Halperin
RON BOTTITTA as Leonard Simms
DANN SEKI as Dr. Curtis

MICHAEL ADAMSCHICK as Lottery Official
ARCHIE AHUNA as Tito
DERRICK BULATAO as Diego (Reyes)

JOY MINAAI as Reporter #1
BRITTANY PERRINEU as Lotto Girl
MARA PRUETT as Nurse

Casting by: APRIL WEBSTER, C.S.A.
Casting by: MANDY SHERMAN, C.S.A.
Casting by: VERONICA COLLINS

Hawaii Casting by: ANNA FISHBURN
Unit Production Manager: PAT CHURCHILL
First Assistant Director: CRAIG WEST
Second Assistant Director: KRIS KRENGEL

Costume Designer: BILLY RAY MCKENNA
Costume Supervisor: ROLAND SANCHEZ
Make-Up Artist: STEVE LAPORTE
Hair Stylist: SUSAN SCHULER

Art Director: MIMI GRAMATKY
Set Decorator: RICK ROMER
Script Supervisor: PATTI DALZELL
Property Master: DOUG MADISON
Location Managers: JIM TRIPLETT

Production Coordinator: DAY PERMUY
Camera Operators: PAUL EDWARDS / GARY CAMP
Chief Lighting Technician: JIM GRCE
Key Grip: CHUCK SMALLWOOD
Production Sound Mixer: MICHAEL MOORE
Stunt Coordinator: MICHAEL VENDRELL
Special Effects Supervisor: ARCHIE K. AHUNA

Supervising Sound Editor: TREVOR JOLLY
Re-recording Mixers: SCOTT WEBER / FRANK MORRONA, M.P.S.E.
Music Editor: STEPHEN M. DAVIS

Post Production Supervisor: TAMARA ISAAC
Assistant Editor: LANCE STUBBLEFIELD
Post Production Services: TECHNICOLOR CREATIVE SERVICES

Production Staff: DIANNE MAPP-CHEEK, TROY ARAKAKI, KOA SUA, RICHARD KAHUNA,
MATTHEW LEONG, DARYL TACHIBANA, MICHAEL BROADY, NANCY JAMES

Visual Effects Supervisor: MITCH SUSKIN

Filmed on location on Oahu, Hawaii

The producers gratefully acknowledge the cooperation of the people of Hawaii and
their Aloha Spirit.

(c) 2005 Touchstone Television. All Rights Reserved.

Dated:06/06/2005~lky, 03/04/2005~lky
http://anthology.webphilia.com/
Do not archive or distribute this transcript!