Amy’s LOST Rewatch Recap – Episode 1.04 – “Walkabout”

Previously on LOST [Recap for 1.03 - "Tabula Rasa" HERE]: Our Transceiver Signal Posse rehashed Eps. 1.01-1.02 and decided to keep their findings a secret. The marshal gave Jack a copy of Kate's mug shot. Kate "remembered" hanging out at Farmer Ray's Farm. Jack got all huffy when Kate suggested putting the marshal down. The marshal/Kate "remembered" Kate's capture and the plane ride. Sawyer bungled shooting the marshal. Jack smothered him. Jack tells Kate "Three days ago we all died." Locke found Vincent and creeped us all out for the first time.

NAMES OF OUR LOSTIES WE KNOW SO FAR: Jack, Kate, Charlie, Sayid, Boone, Shannon, Walt, Vincent, Sawyer, Sun,  and MR. LOCKE.  Notice we know NO ONE ELSE'S LAST NAME, and we don't know LOCKE'S first name.

Get this:  So who thinks it's weird we first learn Locke's name when Walt calls him Mr. Locke?  Anybody remember another lostie we meet this way?  That's right! Mr. EKO.

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Begin Episode 1.04

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VIEWER ASSIGNMENT - JOHN/LOCKE

Before we begin, let's develop our plan of attack.  By the end of this episode, we know that the wheelchair that's been popping up the past few episodes is Locke's and that he was in it when he was in Australia (we presume before he was on Oceanic 815 -- but WATCH YOUR ASSUMPTIONS).  When we see him up on his feet, just after the crash, he's amazed and thrilled he's no longer paralyzed. [This is one of the most AMAZING moments in the entire show: Many kudos to Jack Bender and Terry O'Quinn!].

Our first assignment for his episode is to look for all the ways Team LOST hinted at the truth about Locke's pre-crash condition the ENTIRE show [Twilight Zone/"The Sixth Sense" style].

In the season 6 premiere ("LA X"), we learned that Locke "is" the smoke monster/MIB/whatever, and that Locke "chose" to use John specifically (he tells Jack this in "The Last Recruit").  Oh, and FYI, from now on in Amy's world, Locke = Smokey, John = NOT Smokey, but they are BOTH attached to John's identity/body from the beginning.  We'll see this struggle play out by the time Boone dies.

My theory [here we go testing Amy's theory again!] is that Locke was John's "Other" from the moment John opens his eyes, and he gets "control" of the John identity (becomes the hunter) by the end of this episode.  Basically, he's like a ghost in John's head -- if you're looking for a solid analogy. [Don't panic!].

I think there's a good reason that we only know our losties by their first names until they start having flashes.  Remember how Metro Desmond bumps into peeps with the same first names but different last names (Daniel, Penny, Eloise)? Or how only last names are on the cave wall and the dial, OR how Illana calls the "candidates" all by their last names only?  We saw a bit of this with Kate's flash, and I hinted that Austin wasn't on the island (as part of Kate's identity) until after she chatted with the marshal.

I know ya'll are getting perturbed that I'm not spelling everything out right this instant, but you'll have to trust me! Go through the viewing guides, Chapter 4 will be especially helpful, and roll with it until after "White Rabbit." We need Jack's flash/story evidence in the mix before we can start seriously testing Amy's theory and/or calling Amy completely crazy!

The very, very shortest version I can give you right now is this:  Remember how our losties "transferred" into the flash world of Season 6 [again, Chapter 4 will help]? I'm thinking that was how peeps are supposed to "transfer" to the island.  However, as Sayid says, our losties' "signal" is blocked by an outgoing transmission; they end up on the island with incomplete memories/identities.  I think what we are seeing is our losties trying to get through (or trying to NOT go, in Austin's case) [Remember: flashes are NOT "real" memories. They are pretending to be "real" memories, and Amy runs with NEITHER the island world NOR the flash worlds are PHYSICAL WORLDS -- but they are VERY REAL].

To answer the question I know you're asking:  Why are they transferring at all?  My THEORY is that they are on a rescue mission. They have been SENT there for a REASON -- to "fix" the island (i.e. fix whatever Jacob broke), eliminate the threat (Smokey) and save the piles of peeps unable to move on (the ones that will simply cease to exist if Locke gets off the island). Smokey hijacks John when our losties wake up on the island in order to work his plan to escape.

Feel better?  I know, I know, but this is a slow (and fun) process!  Better to take our time and examine the evidence than skim through and be confused/disappointed in "The End," right?

Don't panic!

In this episode, we need to start examining John Locke closely and seek out clues about Smokey/Locke/MIB and his role in events as they play out on the island [plus I got more unanswered questions about Vincent than I'm comfortable with].  I'm sure you have your own questions about Locke, but my primary question is: how does this Smokey/Locke thing work from Seasons 1-5? They are separate, yes?  Clearly.  I mean, he's not shape shifting into John yet (can't do that until John's dead).  So what gives?

If Team LOST so very carefully placed clues from the beginning of "Walkabout" to specifically tell us John was in a wheelchair so that we can go back and obviously SEE them the second time around, it's pretty darn reasonable that they'd do the same for Smokey.

This time around, let's gather as much evidence as we can to help us decipher what happens later on.

Ready Freddy? [Yay! I'm so excited! REWATCH ROCKS!]

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Silence. A right eye opens -- then flicks open wide. Smears of blood glow bright red against a VERY green (and familiar looking) iris.  Low whoooom noise.

Weirdness alert: Watch how that eye flicks open WIDE just like Jack's did when he woke up.  Watch how we float over spread-eagle Locke kinda sorta like we did with Jack in the bamboo.  Watch how Locke has an object to orient him to where he is (aka a "constant"):  his shoe. Jack had the teeny bottle of vodka.  These elements are WAY too similar for us to ignore. Hm.

THE CRASH SITE

Faint sound of the whining plane engine.  Locke on the ground. Flaming wreckage behind him. He lifts his head. We see his right sock foot, toe in the air.  Charlie wanders near the plane engine.

We dangle over Locke, spread-eagle on the sand. Weirdness alert: Remember how filthy and disheveled everyone else at the beach is right after the crash? Not our boy Locke! His shirt is still buttoned, carefully tucked and SPOTLESS.  His pants are blackened at the cuffs, but otherwise, untouched.  We see his left shoe still on his foot. His right shoe is nearby. Remember, we are not looking at PHYSICAL bodies, clothes, items.  THAT means that the INTERIOR of these characters affects their exterior -- their appearance.

Shannon screams. A cry for help (Sounds like Bum Leg Man). Locke raises his head looks around. Blood from a scrape down the right side of his face. Jin calls (we now know he's looking for Sun, his wife, but I looked it up, and what he's actually yelling is, "Honey! Honey!).  Locke looks back and forth in a weird way. More screams. Locke's sock toe twitches.  He stares down at it.

Pan to: he spots his shoe. [CLAIRE SCREAMS: HELP ME!].  He sits up collects the shoe. He looks at his legs.

Weirdness alert: Two things. Did you see how carefully Team LOST inserted familiar images/sounds directly from Jack's experience at the crash?  Look back over it.  Did you see it?  That's right!  In Jack's experience (which we know is not a flash), Locke was helping Bum Leg Man before Jack heard Claire's first cry for help.

What we are seeing here is a FLASH, just like flashes of the plane THIS IS HOW LOCKE and John struggle over control -- through a flash. It's also an interrupted flash: Vincent's barking starts before we see Locke staring off into space.

We've also just seen our very first (potentially conclusive) hint: We get a nice close up of the sole of Locke's shoe. Notice how it is completely brand spanking new? No wear and tear because it's never been walked on.

OVERLAPPING: DOG BARKING. Locke looks (toward the island) a bit shocked.

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THE CRASH SITE

Dog barking.

Night. Locke stares into space.  Walt tries to quiet Vincent. Our losties stir from their "beds." NOTE: Kate (long, loose hair) sleeps alone, but Jack specifically motions to her on his way by [and Amy's Jater heart goes pitter-patter. CHECK it - watch how cool that little element is. Kate seems to just climb right out of the darkness, and Jack -- He jogs out of the darkness. Odd, don't you think, since we see nearly everyone else is waking up? Plus, I scanned through this a few times -- I can't find Sawyer in the crowd either. Hm. Watch that two finger motion that Jack gives Kate. We'll see that again in "The Incident"].

Loud noises from the fuselage.

• Hurley:  Not cool.


• Claire: Someone is in there.


• Sayid: Everyone in there is dead.


• Jack: It's Sawyer.


• Sawyer: Guess again, jackass! [Get it?  Jack - ass?]

Sawyer and Jack creep up to the fuselage for a look see.  Some kind of four-footed critter roots around inside.  Jack cautiously shines his tiny flashlight. Sawyer scoffs and lays on the high beam. The shadow turns and growls. Creepy reflective pair of eyes.

• Jack:  Run!

The groups scatters as a handful of mid-sized, black, hairy, horned, ugly piggies stampede through the camp. Sawyer covers Kate. Sayid covers Claire. Charlie falls. Jack turns back to save him but not before a boar wings him with a tusk. LISTEN to the squeaking/scritching noises in the background.

• Charlie: What the bloody hell was that?


• Locke:  Boars.

Locke's eyes light up, then narrow.

FUN FACT: In the DVD commentary for this episode, Jack Bender (aka directing GENIUS) notes that they tried over and over to used real boars.  (We actually have wild boars in Hawai'i), but real live boars aren't very lively. They couldn't ever get them to run and act all crazy when they were supposed to. So pretty much every time you see a boar running after our losties, it's CGI -- God bless Kevin Blank!

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THE INFIRMARY

Jack patches Charlie up as Kate and Sayid look on. [LISTEN to the really REALLY loaded wordplay in the following conversation.]

• Jack: Those boars were looking to feed. We have to get rid of the bodies.


• Charlie: Bury them? There's a whole bunch in there.


• Sayid: More than twenty. Digging will be difficult without shovels. [Don't worry Sayid! Bamboo shovels will appear before you know it!]


• Jack: We're not burying them. We need to burn them.


• Kate: They're people. [Mother has a big problem with "people." "They're not like us."]


• Jack: I know they're people, Kate.


• Sayid: Burning the remains, they deserve better than that. [Why do they deserve better?]


• Jack: Better than what? Being eaten by wild animals? Because that's what's going to happen. Any bodies we bury are not going to stay buried for very long. Look, I know this seems harsh, but that fuselage in the sun—it's not about what they deserve. They're gone, and we're not. [Question on LOST is:  Gone WHERE?]


• Sayid: What you say may be true, but for us to decide how these people are laid to rest—it's not right. No regard for their wishes? Their religions?


• Jack: We don't have time to sort out everybody's god.


• Charlie: Really? Last I heard we were positively made of time.


• Jack: Look, I'm not happy about it either, but we crashed a thousand miles off course. They're looking for us in the wrong place. It's been 4 days, no one's come. Tomorrow morning we need everyone to start gathering up wood, dried brush, and turn that fuselage into a furnace. (leaving) Wait until the sun goes down tomorrow night before we start the fire.


• Charlie: If he's so eager to burn the bodies why are we waiting until sundown?


• Kate: He's hoping someone will see it.

Notice how RELIGION isn't REMOTELY the issue here. What religion you are, or what you deserve's got NOTHING to do with what happens to you on the island or after you "die" on the island. Also notice, that from the beginning TIME is on everyone's mind. Remember how Christian says, "There's no now, here"? Well, there is if you MAKE a now.  Time progresses on the island at the same rate for everyone SPECIFICALLY because they all know the exact date of the crash and use it as a reference. We'll be discussing more of this later on in the season.

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DEATH AND THE ISLAND

On LOST, HOW you die and what happens to your body seems to have a huge impact on what happens to you afterward.

Burying a body on the island is significant. We see this when John is finally buried in Season 6. We find out later that Jack made a point of burying the marshal. Juliet makes a point of burying the Others after Hurley's Dharma Van Rescue Adventure. Sawyer makes a point of burying Juliet, too. It's interesting to note that Sayid feels burning the remains is somehow disrespectful, esp in light of what happens to Jacob. Also interesting to note that the Others, under Ben, do NOT bury their dead. They BURN them in a boat over the water.

Also, notice who's specifically NOT buried:  The Dharma Initiative after the purge, Roger (Ben's dad), Yemi (Eko's brother) and the droogs in the plane with him, Goodwin and MOST importantly: ADAM and EVE AND the TWO BODIES in Scooby Doo Cave. And, let's not forget, the guys who don't get buried by default:  Charlie (stays in the water), anybody on the freighter -- including Michael, Sayid (blows up on the submarine). I'm guessing Keamy and whichever of his droogs die in the jungle don't get buried.  Take all that into consideration and then think of this: Whenever Miles communicates or listens to the dead, he has to be close to a body (or ashes of a body in Jacob's case), and on the island, he's very sensitive to bodies buried in the ground.

As for animals eating remains -- that's interesting to think about as well.  The only animal we've seen that's enjoyed quite a few remains is the polar bear. We see piles of bones when Locke goes into the cave (at Boone's request) to retrieve Eko -- to keep Eko from being eaten -- because Eko ends up dying eventually anyway. And then Locke BURIES him.

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THE CRASH SITE

A bright, bright, sunshiny day. Sayid tinkers with something electronic [cuz he's a handy one, that Sayid! Always thinkin' too!].  Kate joins him (long, loose ponytail).

• Kate:  You couldn't sleep either? [NOT sleeping pops up again and again this first season.]


• Sayid: Gathering firewood's for amateurs. I'm tinkering with random electronic scraps McGuyver-style to build antennas to find the source of the transmission.  Transmission equals power source, and power is a good thing.


• Kate:  Who's McGuyver?


• Sayid: Nevermind.


• Kate:  So what can I do to help?


• Sayid: It appears your as eager to get off this island as I am.


• Kate: It's not like I'm hiding it, Sherlock.

[Remember when we first see Sayid? He's all over keeping the fire burning. Not anymore. Mother calls Scooby Doo Cave: "the source. The heart of the island." Ben and Locke say Widmore is looking for POWER not ANSWERS. MIB says "some men among us are curious" and started digging. Locke says they started digging because they were looking for answers.]

Michael gathers firewood. Locke opens a big, shiny metal box (Get it? HAHAHAHAHAHAHAHAHAHA!). Walt plays fetch with Vincent.

• Michael:  Don't go bothering Mr. Locke.


• Walt: At least he talks to me. Come on Vincent. [Uh - oh. "If you let him speak, it will already be too late."]

[caption id="attachment_263" align="alignleft" width="300" caption=""We hunt.""][/caption]




Down the beach, Sawyer and Hurley scuffle. (Image by Lostmedia)

• Hurley: Gimme it, redneck!


• Sawyer: No! It's mine! Mine, mine, MINE!!


• Boone: Knock it off!


• Sawyer: Stay out of this Metro!


• Kate: You did NOT just say "Metro" --


• Hurley: He's hoarding the last of the peanuts!


• Jack:  What do you mean? What happened to the rest of the food?


• Hurley:  We ate it.

Peeps on all sides murmur in distress.

• Jack: Everybody just settle down --


• Sayid:  We can find food. There's plenty of things we can use on the island for sustenance.


• Sawyer: (sits) Oh yeah? And just how're we gonna get this sustenance?

THUH-WOP! A large hunting knife darts into the seat next to Sawyer's head. All look to Locke.

• Locke:  We hunt.


• Kate: How'd you get that knife on the plane?


• Locke: I checked it.


• Jack: (returns knife) A little more to the right next time, Mr. --


• Michael:  Locke.  His name is Locke. [NOTE: STILL NOT JOHN]


• Jack:  Okay Mr. Locke. What are we hunting?


• Locke: Well, I thought we'd start with the little grubbers from last night. They were piglets, but plenty big enough to eat, I think. I'll need two more people to help, tho.


• Sawyer: Good luck in the magic jungle with your one itty bitty hunting knife, bub.


• Kate: If you bitched anymore, you'd grow wings.


• Sawyer: At least one of us would be happy.


• Kate: Three guesses who.

Locke opens the case with his toe. A shiny collection of hunting knives of all shapes and sizes.  Everyone's eyes go wide.

• Jack: Now, those would have been handy yesterday --


• Hurley: Who is this guy? [HAHAHAHAHAHAHA!  Get it? This is THE question this episode tries to answer. Is this John, or is this Locke?]

NOTE: The KNIFE (Image by Lostmedia) is the symbol/constant of "the hunter."Remember when Richard "tests" little kid John? He spreads an assortment of items on a table and asks him: "Which ones are yours already." When Little John picks the knife, Richard is not pleased. Also, Eko, after his polar bear cave rescue, tells John, "After all, you are a hunter John."

John is all about NOT being the farmer. We've already heard Kate say she likes farms [first flash outside the plane is her sleeping on a farm]. The farm is sanctuary for her: as soon as she gets on the ROAD, she gets caught. Hurley is pictured with a farm in his celebratory slide show. A mental hospital is also known as a "funny farm."

OVERLAPPING RINGING PHONE

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GENERIC, SOUL-SNUFFING OFFICE ENVIRONMENT.

Locke sits at a cubicle desk in a bland and depressing office. He answers the ringing phone. Note: BLUE to Green eyes and face changes here.

• Locke: Yes?


• GL12: Colonel Locke, is this line secure?


• Locke: (sneaky looks around) Line secure GL12, go ahead.


• GL12: Target area is acquired. Maneuvers are a go for 13:00 hours. Repeat: we are a go. [Didn't Locke just name the piglets as targets for DEATH and CONSUMPTION? Also, JOHN could be considered a target by LOCKE. ]


• Locke: Roger that. We'll convene at the usual rendezvous point at 13:00 hours.


• Randy: Locke. I told you I need those TPS reports done by noon today. Not 12:30, not 12:15, noon.


• Locke: I heard you the first time, Randy.


• Randy: And no personal calls during office hours, Colonel.

TICKA-TICKA-TICKA (!!!) noise as Locke punches numbers into an adding machine. Ticka-ticka-ticka echoes loudly as we cut to black. [Hurley said "who is this guy?" and now we know:  this guy is ticka-ticka-ticka related! NOT COOL!]

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INFIRMARY

• Jack: Our new friend with the knives creeps me out.


• Kate:  Maybe. (sheaths knife into her belt) Maybe not.


• Jack: How come every time there's a hike into the heart of darkness* you sign up? You know what's in there. [HAHAHAHAHAHAHAHAHA! Colonel -- Heart of Darkness, get it?]


• Kate: Actually, I don't. And neither do you. [The JUNGLE is the UNKNOWN space on the island. Get it? If anything unexpected or "not normal" is gonna happen, it's gonna happen there because THEY don't KNOW or share knowledge about the jungle already.]  (eyebrow high) If I didn't know any better, I'd say you were worried about me, Jack.


• Jack: If I didn't know any better, I'd say you have a problem staying in one place for very long, Kate.


• Kate:  Worried would have been sexier.


• Jack: Sexy's not my problem, babe. You wanna tell me why you're really going?


• Kate:  Sayid gave me this antenna thingy to triangulate the distress signal we heard—find the source. [AGAIN with the SOURCE. The source of the TRANSMISSION.]


• Jack: This isn't about boars.


• Kate: (leaving) I'm a vegetarian.


• Jack:  (shouts after her) That just means more bacon for me! Talk about sexy!

Heart of Darkness (1902), a novel by Joseph Conrad, tells the story of a sailor, Marlow, on his way up the Congo River to meet with a fella named Kurtz.  Marlow and Kurtz both work for the Company, whose prime directive is to make money for Europeans in Africa. Kurtz, a genius who goes nuts without direct supervision, establishes himself as a god with the natives and engages in activities that would make Hitler smile.

Heart of Darkness is a novel with an interesting history [Although it was written to expose the horrors and hypocrisy of Imperialism, the Brits originally thought it was "sentimental" and sweet. No kidding.]. However, contemporary use of the term "heart of darkness" describes a literal or figurative place that's foreign, isolated, chaotic and primal that drags you into madness the longer you're there. Basically, it's a place that eats your moral judgment, your humanity and your sanity from the inside out (until you LEAVE).

The most recognizable (and stunning) adaptation of this story is the film Apocalpyse Now (1979) directed by Francis Ford Coppola (The Godfather movies guy). In it, Marlon Brando (the "STELLLLLA" actor) plays COLONEL Kurtz, a nutbag gone "god"/rogue  during the Vietnam War.  Martin Sheen plays Captain Benjamin L. Willard, the film's Marlow, who enters the "heart of darkness" (also via boat up the river) on orders to  find and eliminate Col. Kurtz.


Look at the scene above where LOCKE is refered to as Colonel in his "role playing game." NOT a coincidence, esp in light of Locke's shennigans in Season 6.

DocArtz has a very cool article about Heart of Darkness and Locke HERE.  In it he uses a quote from the novel that is VERY interesting in light of Locke related events in Season 6.

“The wilderness had found him out early, and had taken on him a terrible vengeance for the fantastic invasion. I think it had whispered to him things about himself which he did not know, things of which he had no conception till he took counsel with this great solitude–and the whisper had proved irresistibly fascinating. It echoed loudly within him because he was hollow at the core.” –Joseph Conrad’s Heart of Darkness

BE CAREFUL: The Heart of Darkness and Kurtz references might pull you down the path of Good v. Evil or Chaos v. Order.  Don't be fooled!  Insanity and evil/chaos are NOT the same thing.

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THE CRASH SITE

Kate and Locke prep for the hunt. Michael prepares to tag along.

• Michael: HI. MY NAME'S MICHAEL. CAN YOU WATCH MY BOY UNTIL I GET BACK? [Now we know Michael's name!]


• Sun: (in Korean) Uh, sure. I guess.


• Walt: Why can't I come?


• Michael:  Cuz I said so. Cheer up! This way I'll get to know your friend Mr. Locke  little better.  (to Sun) THANK YOU. FEEL FREE TO SMACK HIM IF HE GIVES YOU ANY TROUBLE, OKAY?


• Walt: Dad!

Walt and Sun watch Michael leave with Kate and Locke. Sun speaks to him in Korean. [COOL translation site for Korean spoken on LOST!  The Patriot Resource]

• Sun: Don't worry. You're father will be fine.


• Walt: Yeah -- whatever.

Jack helps peeps scavenge from the fuselage.

• Claire:  Doctor? [Kate is the only one who uses Jack's name in this episode. EVERYONE else calls him Doc or Doctor. Weird right? This is foreshadowing for "White Rabbit."  Jack is about to get the island identity/flash treatment when he becomes Dr. Shephard.]


• Jack:  Claire, right? [AHA! NOW we finally know Claire's name!]


• Claire:  Yeah. We found these papers and stuff. From the passengers. [These THINGS are CONSTANTS. They "carry" memories of the people they belonged to. Now they're worthless: peeps are gone.]


• Jack: I don't know what I'm supposed to do with this -- [FYI: Jack is the ONLY lostie that doesn't have a CONSTANT like the others do.  He has the coffin, sure, but it doesn't work -- this is why he smashes it. He knows something's missing - the missing piece of him is Christian. That's why he keeps chasing his ghost all over the place. We see finally the coffin work in "The End." In the flash world -- NOT on the island, and the coffin doens't show up until DESMOND informs Jack that it's arrived. How would Desmond know? Good question.]


• Claire:  We were thinking maybe we'd have a memorial service or something. You could lead it. Maybe say a few words? [Memorial service: get it? To remember and let go!]


• Jack: That's not my thing. [Before long, they can't have a funeral WITHOUT Jack.]


• Claire: Maybe I'll do it.


• Jack:  Sounds fine. Whatever everybody wants.

Boone spots Rose sitting down the beach alone, staring at the sea. [Let's call this spot the CRASH SITE THINKING SPOT]

• Boone:  That woman's still sitting there. Her husband was on the plane. [Our first clue Boone is "special." How would he know about her husband? The only person who knows is Jack, and he only knows from his flash of the plane.]


• Shannon: What's a four letter word for I don't care? You really can't help yourself, can you Captain America?


• Boone:  I don't know why I bother feeding you.


• Shannon: I can feed myself, thank you very much!


• Boone:  Yeah? With what?


• Shannon: Ocean's full of fish! What? You don't think I can catch a fish?


• Boone: I don't think you could catch a cold.

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HIGH GRASS JUNGLE

Locke spots boar sign on the ground and trees.

• Locke: Boars get most of their food by digging.


• Kate & Michael:  And?


• Locke:  We're close.

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PRIVATE BEACH

Charlie readies to snort a hit. He quickly hides his drugs when Shannon joins him. [He still has those black fingernails on his right hand. They really bug me for some reason!]

• Shannon:  Hey. Wanna take a walk with me and my bikini?


• Charlie: Uh -- yeah. Absolutely.


• Shannon: Do you know anything about fishing?


• Charlie: Uh -- yeah. Absolutely.


• Shannon:  That makes me and my bikini very happy Charlie --


• Charlie: (stupid guy giggles) huh huh huh huh --

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THE CRASH SITE

A random peep uses the wheelchair to roll wood to the fuselage.

• Boone: The woman's been sitting over there by herself. Maybe she's having trouble dealing with her husband? I don't think she's had anything to eat or drink. Think maybe you can go talk to her?


• Jack: Why me? I'm not a psychiatrist. I mean, maybe you should --


• Boone: I just thought you might want to do it. You're the one that saved her life.

WHOA! Not only is Boone Mr. I gotta help guy, he knows stuff about peeps without being told, and he works the guilt! Why does Jack specify "maybe you should" to Boone? All those cracks by Shannon about being a pathological "hero" TRYING TO SAVE EVERYBODY.  He's a lifeguard, he doesn't believe in guns, and he's always trying (and usually failing) to take the initiative to help everyone else.  Actually, come to think of it, whenever BOONE goons something up, it moves things along: Kate with the gun, Jack with saving the girl, and Jack again when Boone hides the water. Like I said before, Boone is a mystery to me. I'll be watching him more closely before he bites it.

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CRASH SITE THINKING SPOT




[caption id="attachment_267" align="alignleft" width="300" caption="Jack and Rose stare across the sea together."][/caption]




Rose stares out at the sea, fingering a wedding band on her necklace. Jack joins her with a blanket and a bottle of water. He wraps the blanket around her shoulders.

• Jack: Hi. Rose, right? [NOW we know ROSE'S name]. Remember me, seat 23A? [Hang on. HOW does he know Rose's name?]  I'm the guy that told you not to worry about the turbulence.


• Jack: Everybody's getting pretty worried about you, Rose. If you want to be alone that's fine, but you have to take care of yourself. You should really drink.


• Jack: Okay. We don't have to talk. Let's just sit for a while.

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JUNGLE

Locke leads Kate and Michael through the jungle.

• Kate: Your son, how's he handling all of this?


• Michael: A hell of a lot better than I am.


• Kate: You must be proud. He's a brave kid.


• Michael: Yeah. I can't take credit for that. I wasn't part of his life. Till his mother passed away, two weeks ago. [This is a VERBATIM translation of what Walt told Locke in the pilot.]


• Kate: I'm sorry. I didn't know.


• Michael: That's okay. There were living in Sydney the past couple of years. I flew out last week, you know, to go get him. What were you doing in Australia? [You know, what WAS Kate doing in Australia? So far we're pretty sure she was on the lam and hiding from the law, but don't you think it's weird for her to pick Australia? I always did.]


• Locke: Shhh. [Second "Shh" from Locke]

Locke checks more boar sign. He silently hand signals "circle around behind him and chase him my direction." Michael gets annoyed.

• Michael: Hey, quit giving the steal signal.

A boar charges out of nowhere. Locke pulls Kate outta the way. Michael takes the charge head on. He falls to the ground with a gored leg. Kate drags herself up - her face is scratched up (right side). We see Locke on the ground, spread - eagle, unmoving. Watch that jerky edit, folks!  From ONE side (Kate and Michael's side) we see Locke lying there and can't see the knife.  The flipside, he's holding that knife right up in the air for us to see.  [Check out the weird bird call.] We saw this same thing happen to Kate before the marshal busted her by the side of the road.

Kate flinches as she looks at Michael's wound (looks a lot like Bum Leg Guy's wound, doesn't it?). Locke lies stunned (DUDE! Check out that scratchy noise! Wow!] He touches his face (right side). He looks down at his unmoving toe (in new shoes). He turns and looks right (VERY much like he did at the beginning of this episode).

• Kate: He's bad.

Locke looks down at his feet again. He rests his head back and stares up at nothing.

OVERLAPPING:

• GL 12: Move. You've got to move Colonel. [Besides the obvious reference for Locke to GET up and get on with the hunt, this line made me think of Taller Walt. "Get up, John. You've got work to do."]

________________________________________________________

BREAK ROOM OF GENERIC, SOUL-SNUFFING OFFICE ENVIRONMENT

A board game with plastic army guys.

• GL 12: Your troops are across enemy lines.

Locke examines the board.

• Locke: Patience, the quality which you lack, GL12, is the hallmark of a leader.


• Randy: Hallmark, huh? Tell me more about being a leader, Locke. While you're at it, tell me about this Colonel thing. I cruised your file in human resources, you've never been in any of the armed forces.


• Locke: I'm just playing a game, Randy. It's my lunch hour, I can play a game.


• Randy: Well, tell me, what's a Walkabout? "Experience the dream journeys of the fabled Australian Outback." [Well, I dunno how THAT line could be more Wordplay loaded, do you?]


• Locke: You have no right taking that off my desk. [More odd wording. Hm.]


• Randy: So, you wander around hunting and gathering food, right? On foot? [HERE'S our SECOND potentially conclusive clue.  Remember, our first definitive clue that Locke was in a wheelchair all along in his flashes was his shoe. Team LOST drops this clue WAY later -- right before we see Locke waiver between John and Locke. Watch how Kate sees it too -- instinctively. ALWAYS, always WATCH your ASSUMPTIONS!]


• Locke: Not that you would understand, but a Walkabout is a journey of spiritual renewal, where one derives strength from the earth. And becomes inseparable from it. [Anyone know how you do that? Um, you're BURIED in it. Also, remember how the OTHERS are barefoot and our losties are NEVER barefoot (except for Sawyer)? We'll see physical contact with the island have a profound effect on Daniel and Jack.] I have vacation days, I'm going, Randy. I've already made a reservation.


• GL12: Wow. John you're really doing it, huh? You tell Helen yet? [Second "John" clue in this scene. Helen's name belongs to JOHN, not LOCKE.]


• Randy: Helen? Well, what's this Locke, you've actually got a woman in your life?


• Locke: That's none of your business.


• Randy: What is it with you Locke? Why do you torture yourself? I mean, imagining you're some hunter? Walkabouts? Wake up, you can't do any of that. [MORE triggers of JOHN aimed at Locke. MORE loaded wordplay about dreams. The hunter crack is interesting.  Hunting boar is what wakes Locke up.]


• Locke: (thinks-holds his head) Norman Croucher.


• Randy: What? Norman what?


• Locke: Norman Croucher. Norman Croucher, double amputee, no legs. He climbed to the top of Mt. Everest. Why? It was his destiny.


• Randy: That's what you think you've got, old man? Destiny?


• Locke: Just don't tell me what I can't do. [JOHN's line].

And now we see it.  In this flash, we finally get a glimpse of JOHN.  Locke/smokey/MIB could give a crap about destiny. He thinks it's a joke, a trick and a lie. JOHN is the one who feels his Destiny with a capital D. Watch what happens next.

OVERLAPPING:

• Kate: John, he's hurt.

WHOOOM noise

________________________________________________________

JUNGLE

Locke on his back stares up at nothing (he's right where we left him).  He blinks WIDE both eyes and gasps. [WATCH what happens to Locke as we HEAR Kate switch back and forth between names. Again, WATCH YOUR ASSUMPTIONS.] Kate tends to Michael (Note: Kate's hair in her face w/ponytail).

• Kate: He's hurt. John? Can you hear me? Locke?

We see Kate tending to Michael. We see the knife in Locke's hand.

• Kate: John you okay?

He keeps blinking. Finally, he raises his head and looks at his right toe for a moment. It barely wiggles. He moves both legs. He gasps.

• Kate: Locke?

[Here's where we learn Locke's other name is John, but only after a flash that provides more specific information about JOHN, and only WHEN KATE SAYS IT like she KNOWS it. Kate pulled this particular trick with Sawyer, too. Remember? She called him Sawyer after he read the letter for the first time.]

• Locke: I'm fine, I'm fine. I'm fine, Helen, I just got the wind knocked out of me is all.


• Kate: Helen?

Locke's legs stop moving. He sits up, stiff legged.  [Note: we can't see Locke's knife.]

• Locke: What?


• Kate: You called me Helen.


• Locke: Did I?


• Locke: Which way did that boar go?


• Kate: Michael's hurt. We have to get him back to camp.

Locke on all fours. He pulls himself to standing [NOW we see the knife.]

• Locke: Yeah, you take him back to camp. I'm going to get that boar.


• Kate: What are you talking about?


• Locke: (looks around wild-eyed) I'm fine. I can do this.

He walks away from them.

• Kate: John, you can't.


• Locke: Don't tell me what I can't do.

Ba-doom! Cut to black.

________________________________________________________

PRIVATE BEACH/FISHING SPOT

Hurley and Charlie fish with a stick. Well, TRY to fish. Mostly they just fall into the water.

• Charlie: Well, I really appreciate you helping me out, thanks.


• Hurley: Anything to keep me far away from that fuselage and that freakin' redneck jerk. Who's this fish for again?


• Charlie: A bikini -- a GIRL. Uh,  a girl in a bikini.


• Hurley: A hungry girl in a bikini.


• Charlie: Exactly.

For three shows now, Hurley has been freaked out by the corpses (that we never see) in the fuselage.  Given Hurley's future roll on the island, I'm starting to think we need to examine what he's thinking more closely.

__________________________________________________________

THE CRASH SITE

Sayid picks through electronic scraps. Claire sorts through stuff nearby.

• Claire: Excuse me, your name's Sayid, right?


• Sayid: Yes.


• Claire: I just found this. It's got your name on it. [How CONVENIENT, right?]

She hands him an envelope.

• Sayid: I thought I'd lost this. Thank you.


• Claire: Sure.

He pulls out pictures of a woman in traditional muslim dress (covered but for hands and face). She smiles mysteriously from the pic. It's Nadia. Sayid's island/identity treatment has just begun. These pics are Sayid's CONSTANT - the item that connects him to specific memories in the flash world. Just like Sawyer's letter, Charlie's drugs, Bernard's wedding ring and Kate's handcuffs (although her mug shot is what ends up doing the job). We'll see this pattern over and over again in Season 1.

________________________________________________________

CRASH SITE THINKING SPOT

Jack and Rose stare out across the sea.

• Rose: His fingers swell.


• Jack: Sorry?


• Rose: Bernard, my husband, his hands swell up whenever we fly.


• Jack: The altitude.


• Rose: He started having me hold onto his wedding ring whenever we took a plane trip. Always wore it around my neck for safe keeping. Just until we landed. You know, doctor, you don't have to keep your promise. [NOTE: Rose can't remember anything except what we saw in Jack's flash.]


• Jack: Promise?


• Rose: The one you gave me on the plane. The one you made me—to keep me company until my husband got back from the restroom. I'm letting you off the hook. [LOOK at how that worked. Remember the marshal? He asked Kate, what was the favor you asked me? -- a moment on the plane just before it started to crash.  Rose does the same thing here. She joins their flashes together, just like the marshal did with Kate.  Watch Jack blink-blink-blink when he remembers.]


• Jack: Well, you're not going to get rid of me that easily. Rose, you shouldn't be out here alone. You're suffering from Post Traumatic Shock.


• Rose: Aren't we all?


• Jack: Yeah, I guess we are.


• Rose: You have a nice way about you. A good soul -- patient, caring. I suppose that's why you became a doctor.


• Jack: Thanks, but I was just kind of born into it. Family business. [Remember what he tells Hurley about Kate's mugshot? "It's not my business." Also, I'd like to know how you can KINDA be born into becoming a spinal surgeon. How's that work?]

Hm. FIRST reference to Jack's family which yields what? The first image of Christian, which we're pretty sure is Locke. -- Ah, watch your wordplay. Locke only admitted to pretending to be Jack's father when he "chased the ghost of my dead father into the jungle." We don't have PROOF that these early images of Christian are Locke.  We just have strong indications.

_________________________________________________________

VALLEY

Locke walks through the valley, turning the knife over and over in his right hand. He is alert, confident, on edge and constantly scanning the horizion.

OVERLAPPING:

Locke: I have never felt so alive.

_________________________________________________________

LOCKE'S TEENY STUDIO APARTMENT (?)

Locke sits up in bed, his legs spread out in front of him. He talks on the phone. The appartment/room is cluttered, but not in a gross way. I briefly looked the room over for definitive clues, but all I could think of was there's no chairs anywhere, and the couch is covered in pillows like it's never used.

• Locke: I have never felt so alive. Getting to finally tell Randy off was … life changing. I mean it, now I'm free to do all those things I ever wanted to do. Things that I know I was destined to do, like we talked about Helen.


• Helen: That's wonderful John. I'm happy for you, really.

Locke turns off a small machine on the table next to him.

• Locke: I haven't even told you the best part.  You remember the authentic aboriginal Walkabout?


• Helen: Sure. That's all you've talked about for weeks.


• Locke: Yeah, well, I'm going to do it. I'm flying to Australia at the end of the week. And I've, uh. I bought two tickets. Helen?


• Helen: John, we've talked about this. I like you, and I've enjoyed talking with you these past few months.


• Locke: 8 months. [DESIGNATION of TIME -- matches Claire's -- she's 8 months pregnant.]


• Helen: I'm not allowed to meet customers.

WATCH LOCKE'S FACE. This is a complete surprise to him. Then, he puts his hand on his head and his face starts changing - a LOT!

• Locke: Customer? Is that what I am to you?


• Helen: This isn't really normal. I mean, it isn't what I do. I don't know, maybe you should find a … I don't know … a therapist?


• Locke: I have a therapist. [VERY odd, Locke's response here. What kind of therapist do you think he means? And who has the therapist? Locke or John?]


• Helen: John.


• Locke: I thought you understood Helen. You know me better than anyone.


• Helen: John, if we talk any longer, I'm going to have to charge you for another hour. That's another 89.95 and --

WHOA! Watch how MUCH his face shifts around here - especially his EYES.

• Locke: Look, I don't care about the money. I just --


• Helen: I'm sorry John, I've got to go.


• Locke: Helen, Helen. Helen!

She hands up. A dial tone. He briefly holds the phone receiver to his right temple (it covers his right eye). He slams it down and fumes at the ceiling.

_______________________________________________________

JUNGLE

Kate helps Michael limp along.

• Kate: Hey, hey wait a minute. Rest here for a minute.


• Michael: I thought the guy with the gimpy leg should be deciding when we rest. What are you doing?


• Kate: Trying to boost the transceiver signal. I'm going to climb this tree and attach the antenna.


• Michael: You're going to climb that?


• Kate: Yeah. Don't worry. I've climbed a lot worse. [?? I never got that. Climbed worse trees? Climbed something worse than a tree?]

Michael gives her a boost. He painfully plops on the ground as she climbs. [Ready for something weird? When Kate puts her pack on and starts, her hair's down in a long ponytail, BUT as soon as she starts climbing (and after she gets up there) her hair is tucked at the nape of her neck.]

_______________________________________________________

HIGH GRASS JUNGLE

Locke makes his way through the grass. LISTEN to the funky bird call.  So far, the high grass jungle has be the location for a polar bear attack (TSP) and an attack of "something" Michael. [I heard a very faint ticka-ticka.]

_______________________________________________________

JUNGLE

Michael adjusts his bandage. Kate pulls the antenna from her pack and starts to attach it. Immediate static, crunching and loud squeaking noises. A tinny warble. Kate drops the antenna to the ground.  Her eyes go wide (we see this movement a lot on her. It's just wierd).

In the near distance, a "path" of something "knocking down" the trees. Crashing noises like huge footsteps.

• Kate: Locke.

_______________________________________________________

JUNGLE

A clearing. Locke creeps along, looking back and forth. Squeals and grunts. POV. A spot in the jungle.  Locke runs for it. The sound of boars grunting morphs into a nasty screamish noise, then squeaking and loud thumping noises.  The tree tops just head shake and wave.

Locke swallows hard, scared but not enough to run. He is rooted to the spot. He looks up, looks back and forth in amazement. WEIRD EDIT: POV of something floating, looking down on him. It exits the trees. He stares up at it, the knife useless in his right hand. He takes a few steps back.

We move in closer. His eyes are VERY blue. His mouth gapes open. His face shifts several times.

Cut to black. [And first time viewers went AAHHHHHHHH! What does it mean!!? I know I did.]






__________________________________________________________

THE CRASH SITE

Claire sorts through remnants of the dead passengers. Sawyer hands over a stack of wallets. So even Sawyer "feels" for these peeps who are "gone" and about to be incinerated. Interesting that he would steal wallets at all, given our trick-or-treat scene in the fuselage with Jack. What good is a wallet in the wild?

• Sawyer: These were, um. I found these the other day when I was -- Alright, just, just take it.


• Claire: Thank you.

Sun shows Walt how to brush his teeth with a plant.

• Walt: Oh, I get it. It's like toothpaste.

Michael limps into camp with his arm over Kate's shoulder.

• Hurley: So, like, what happened out there?


• Walt: Dad!


• Michael: Hey, hey!


• Walt: Your leg's all messed up. Does it hurt?


• Michael: It's okay. It's not as bad as it looks.

Hurley takes over helping Michael. Kate bypasses Sawyer.

• Sawyer: The mighty huntress returns. What's for dinner, hon?


• Kate: Not now.

• Walt: So, it was like a boar fight?


• Michael: Not too much of a fight. It was more like me getting gored.


• Walt: So, um, where's Mr. Locke?

Boone and Shannon.

• Boone: I don't think that hunt went very well. The bald guy never came back.


• Shannon: Wait, they didn't bring back any food at all?


• Boone: Did you hear what I just said? Somebody might have died out there.


• Shannon: Well, we're all going to die if somebody doesn't do something.


• Charlie: There you are. As promised, you and I will be dining of fresh catch of the day.


• Shannon: Oh, my fish!


• Boone: I don't believe you.


• Shannon:  What's the matter? Can't stand to see me fending for myself?


• Boone: (to Charlie) I'm sorry about this, seriously.


• Charlie: No, no, it's okay.


• Shannon: What are you apologizing to him for?


• Boone: For you. For using him—using this poor guy like you use everyone else.


• Shannon: I told you I'd catch a fish, didn't I?


• Boone: That's low Shannon, even for you.


• Shannon: Oh, go rescue a baby bird or something.


• Charlie: Damn. The bikini strikes again.

__________________________________________________________

CRASH SITE THINKING SPOT

• Jack: Rose, after the sun goes down, we're going to burn the fuselage. It's just something that we have to do. There's going to be a memorial service back at the camp for those—for those who didn't make it. [In "LA X," Rose tells Jack he "can let go now" because "We made it."] For everyone to say goodbye.


• Rose: I'd like to be there for that.

Jack stands. He helps her to her feet.

• Jack: Okay. Maybe if you'd like to say something, you know, about your husband.


• Rose: What?


• Jack: I'm just saying if you wanted to say goodbye to Bernard.


• Rose: Doctor, my husband is not dead.


• Jack: Rose, he was in the tail section of the plane. It broke off in mid-flight. I'm sorry, but everyone who was in the rear of the plane's gone.


• Rose: They're probably thinking the same thing about us. [Well, now we know the tailies are coming.  This is CLEAR foreshadowing of future events.]

Thummmm. Something catches Jack's eye. A man in a dark suit stands like a statue, staring at Jack, just inside the green line. Jack stares back. He takes a few steps forward. The man doesn't move.

• Rose: Doctor?

He turns to Rose.

• You coming?

He looks back. The man is gone. He keeps looking. He does the blinkity-blink-blink eyes thing.

_________________________________________________________

CRASH SITE

Sayid still tinkering. Kate hands him the smashed antenna. [NOTE how different Kate looks now than she did when she left. Remember, little subtle changes in appearance, especially in Kate, are worth noting, so we can check for a pattern.  Kate's sans white shirt with peach shirt sleeves tucked up and her hair at the nape of her neck.]

• Kate: I'm sorry. I guess I should've gotten a warranty.


• Sayid: Damn! There goes any chance of rescue!


• Kate: Sayid. We'll try it again.


• Sayid: We'll try it again.


• Jack:  Kate.


• Sayid: Excuse me.

Jack arrives. Sayid leaves. Kate smiles as Jack quickly examines the new scratches on her cheek.

• Kate: Hey.


• Jack: You okay?


• Kate: Is this when you say "I told you so?"


• Jack: No, I'm not big on rubbing it in. [Any Jack rubbing is better than nothing's what I say.]


• Kate: Locke, um. Locke's gone. That thing, it was moving in his direction. There wasn't time.

Jack hangs his head. Kate takes his hand. Peeps gather at the fuselage.

• What's going on?


• Jack: The fuselage is ready to go. Some of the others decided, um … I guess there's going to be some words said over the fire --


• Kate: That's good.


• Jack: -- names read, I think.


• Kate: I just don't think they're ready to hear about some of the things that we've--

Something catches Jack's eye again as Kate talks. The same man, closer now, smoothly ducks into the greenery. Jack takes off. Kate follows.

_________________________________________________________

INTERMEDIATE JUNGLE

Jack enters. We hear him breathing hard as he carefully looks all around. Noises (teeny ticka-ticka's what I heard). Rustling. The leaves shake just ahead. LISTEN TO THAT NOISE: it's usually the sound we hear right before the final *FOOM* of every episode.  Locke appears, covered in blood, and dragging the body of a boar behind him with his belt.

• Jack: Locke.

Locke smiles. He heaves the boar forward and drops it. Jack and Kate stare at it -- BOTH doing the blinkity-blink-blink thing.  The boar's bloody and lifeless body. Locke takes a deep breath. WOW! Lookit his face change!

Cut to Black.

_________________________________________________________

CRASH SITE

Claire flanked by Boone (holding a torch) and Hurley (passing her new items). She reads off names. Peeps in a semi-circle face the trio. The fuselage begins to burn in earnest behind them.

Kate (long, loose, hair - white shirt) bows her head. Michael bows his head. Next to him, Locke stands with his arms crossed, unaffected.

• Claire: . . .but they were really in love and were going to be married. At least, wherever they are now, they're not alone.

Around the corner, Charlie in his hoodie sneaks a hit of heroin.

Sawyer and Shannon bow their heads and listen, then Sayid and Kate. Charlie (obviously doped) steps in beside her.

• Kate: You seen Jack?

He shakes his head no.

Long shot. A sullen Jack sits in the sand staring across the sea. The service and the flaming fuseage well behind him.

Michael next to Locke (still staring with his arms crossed).

• Michael: Nice work.


• Locke: What?


• Michael: The boar. Nice work, you know, killing it. Just thought I should say something.

Locke nods thanks. Creepy smile.

• Michael: So that thing, the monster, whatever. She said it was headed right towards you. Did you see anything? Get any kind of look at it?


• Locke: No.

Michael looks skeptical. Locke stares into space.

__________________________________________________________

WALKABOUT HEADQUARTERS

Walkabout Guy and Locke chat across WG's desk. In the window, we see peeps boarding into a colorful bus.

• Walkabout Guy: The Walkabouts we arrange here are not just some stroll through the park. It's trekking across vast stretches of desert, rafting bloody treacherous waters.


• Locke: Look, you've got no idea who you're talking to. I'm well aware of what's involved, believe me. I probably know more than you on the subject. [How's that? Remember, Locke's first speech is about backgammon and Ancient Mesopotamia. Cultural history seems to be Locke's forte.]


• Walkabout Guy: In any case, it's a trying ordeal for someone in peak physical condition, let alone --


• Locke: Look, I booked this tour a month ago, you've already got my money. Now, I demand a place on that bus.


• Walkabout Guy: You misrepresented yourself.


• Locke: I never lied.


• Walkabout Guy: By omission, Mr. Locke. You neglected to tell us about your condition.


• Locke: My condition is not an issue. I've lived with it for 4 years. It's never kept me from doing anything.

Rumble of a diesel engine. A car horn honks.

• Walkabout Guy: Look, unfortunately it is an issue for our insurance company. I can't keep the bus waiting any longer. It isn't fair to the other people.


• Locke: Hey, don't talk to me about fair.


• Walkabout Guy: I can get you on a plane back to Sydney on our dime. That's the best I can do.


• Locke: No. I don't want to go back to Sydney. Look I've been preparing for this for years. Just put me on the bus, right now, I can do this. [Isn't this what Illana said about her job of protecting the candidates?]


• Walkabout Guy: No, you can't.


• Locke: Hey, hey --

HUGE reveal as WG leaves. Locke turns his wheelchair to keep yelling at him. [And the LOST world went AAAAAHHHHHHHHH!!]

• Locke: Don't you walk away from me. You don't know who you're dealing with. Don't ever tell me what I can't do, ever!!

He wheels to the window and watches WG board the fully loaded bus.

• Locke: This is destiny. This is destiny. This is my destiny.


• I'm supposed to do this, dammit. Don't tell me what I can't do. Don't tell me what I can't --

Locke's face falls as he watches the bus pull away.

QUICK CUT TO:

Locke on the beach post crash (from the beginning of the episode). Locke's sock toe wiggles. He leans up and stares at it.  He slips his right shoe on. He gazes up at the island amazed and nearly in tears.

He awkwardly pushes himself to all fours. He puts his right foot down, brushes off his pant leg. Carefully, he gets his balance and raises to standing like a child. Panicked peeps scramble around behind him. We hear Claire scream for help.

In the midst of the chaos, Locke leans back and smiles, overjoyed and amazed by the miracle. He gently stamps his right foot. We hear Jack shout off screen:  "YOU!" Locke turns. Jack waves him over.

• Jack: Get over here! Give me a hand!

Locke jogs off to answer the call.

QUICK CUT:

Locke in the firelight. He stares off into space [and his eye look BLUE to me]. The memorial continues. The fuselage burns. Something catches Locke's eye.

The flames. The empty wheelchair comes into view.

Locke watches it. His face shifts into a knowing smile. Flames obscure his face. Sound of a roaring fire.

Cut to black.

[And the people say: AAAAAAAHHHHHHHHHHHH!!!!!  I LOVE THIS SHOW!!!!]


__________________________________________________________

End Episode 1.04

__________________________________________________________

Next up:  Analysis: Flashes, Kate & Locke

Next Episode: 1.05 - "White Rabbit"