Transcripten bekijkenwijzigen
Seizoen 1:


Seizoen 2:


Seizoen 3:


Een transcript is een terugblikkende, herschreven tekst van een dialoog, en net als in een script (een voorgeschreven tekst) bevat het informatie over andere gebeurtenissen zoals details van een actie. In het geval van een transcript van een film- of televisie-opname, is het een woordelijke opname. Omdat de teksten vaak afzonderlijk zijn geschreven, kan de tekst fouten bevatten en kan het zijn dat ze niet officiële informatie bevat.

Lost-TV-lid Spooky heeft de meeste van deze afleveringen zorgvuldig getranscribeerd, met hulp van DVR, en tekst tussen haakjes gezet voor opheldering. Zij en Lost-TV hebben zo getrouw mogelijk Lostpedia toestemming gegeven hun diensten te gebruiken. Tenzij onderaan anders aangegeven, heeft zij dit transcript gemaakt.

Disclaimer: Deze transcipts zijn alleen bedoeld voor leer- en reclamedoelen, en mogen niet opnieuw worden gebruikt zonder toestemming van ABC. Ze zijn bedoeld als een tweede ervaring voor de kijkers van ABC's LOST (executive producers J.J. Abrams en Damon Lindelof), en hebben geen connectie met ABC Television of zijn partners.

Aflevering 14
Geschreven door:
David Fury
Geregisseerd door:
Greg Yaitanes

[Shot of Michael's eye. We see Michael walking, looking around.]

MICHAEL: Walt! Walt!

CHARLIE [entering]: Hey, Michael, you seen Claire's bags?

MICHAEL: You seen my son?

CHARLIE: You seen her bags?

MICHAEL: Claire's?

CHARLIE: Her luggage. It's not been brought back here. No one seems to know what's happened to it.

MICHAEL: Uh, sorry man, I don't know. I'm just looking for Walt.

CHARLIE: Oh, got it. Sorry, I've not seen him.

[Jack walks up carrying fire wood.]

MICHAEL: Hey, Jack, you see my boy when you were out there?

JACK: No, he was at the caves.

MICHAEL: Yeah, he took his dog for a walk. I told him to stay close, as usual. You listened to your old man when you were 10, right?

JACK: Uh, yeah, I listened. Maybe a little too well.

HURLEY [off camera at first]: Yo, dudes. Got a new tourney lined up. We're playing for the last of the deodorant sticks. You dogs up for some golf?

MICHAEL: I have to go find my kid. Hey, if Walt shows up, you tell him I said stay right here until I get back.

JACK: You got it.

MICHAEL [exiting]: Walt! Walt!

HURLEY: He seems to hate it, doesn't he?

JACK: What?

HURLEY: Being a dad.

JACK: No, it's just a lot of hard work.

HURLEY: No. He hates it.


[Shot of Michael walking around calling for Walt.]


[We see Michael and Susan in a baby furniture store.]

MICHAEL: This is definitely my baby's crib.

SUSAN: Uh-huh, beautiful. It'll look great in the alley we'll be living in. This is 3 months rent.

MICHAEL: What? It's not 3 months -- look, don't you want the best for this kid.

SUSAN: I know you're excited, but, Michael, we can't afford this.

MICHAEL: Our baby in this crib? C'mon, that's a happy kid. Hey, I talked to Andy, he said he could throw some work my way.

SUSAN: Construction? What about your art?

MICHAEL: No, no, no, no. I'm not giving it up. I'm just going to take a break until you finish law school, pass the bar, get hired by some fancy-ass high paying law firm. . .

SUSAN: Somebody's got it all figured out.

MICHAEL: Yeah, I'll get back to painting eventually. Meanwhile, you can support me and Walt in a manner to which we'll soon become accustomed.

SUSAN: Walt, huh?

MICHAEL: I'd like to do that, you know, name him after my dad.

SUSAN: Walter. Walter Lloyd.

MICHAEL: Lloyd? Oh, all right. That's why you won't marry me. It's not that you think marriage is too prosaic, you just want him to have your last name.

SUSAN: Hey, you want me to agree to Walter, or what?

[Shot of Locke's hand putting a knife into Walt's hand. Walt throws the knife at a tree, but it bounces off.]

WALT: Man, I suck.

LOCKE: You can do better than that.

BOONE: You might want to take it easy on him.

LOCKE [pointing at the tree]: See this knot, Walt? I want you to aim for it, right here. Focus on it, alright? Picture it in your mind's eye. You know what that is, right? The mind's eye?

WALT: Like a picture in your head or som. . .

LOCKE: That's right. Now do it again. But see it. See it before you do it. Visualize the path. See it. See it.

[Walt gets ready to throw again. Shot of Vincent looking off toward a sound. Walt throws the knife and it sticks this time.]

BOONE: Whoa.

WALT: Yes!

LOCKE: I knew you had it in you, Walt.

WALT: It was weird. I actually saw it, in my mind or something, like it was real.

LOCKE: Who's to say it wasn't? [Locke hands the knife back to Walt.]

MICHAEL [entering]: Hey! What the hell is going on? [To Walt] Give me that.

WALT: But, I was. . .

MICHAEL: Take Vincent and go back to camp.

WALT: But, Mr. Locke was. . .

MICHAEL: Now, little man.

[Walt reluctantly gets Vincent and leaves.]

MICHAEL [to Locke]: You gave my boy a knife?

LOCKE: You should have seen what. . .

MICHAEL: Hey, don't tell me what I should have seen, man. If we were back home, I'd call the police on your ass. Encouraging a kid to sneak away from his parent? Giving him a knife like this?

LOCKE: Walt knows his own mind.

MICHAEL [putting the knife in Locke's face]: Hey, don't talk about my son like you know him.

LOCKE: You really need to calm down.

MICHAEL: You keep playing my son against me, and I'm going to have a. . .

[Suddenly Boone tackles Michael, grabs the knife and is on top of him.]

BOONE: The man said calm down.

[Michael slugs Boone and gets on top of him.]

MICHAEL: What are you his attack dog?

[Locke breaks them up.]

LOCKE: Easy, easy, easy. You're the one that was waving the knife around. He was just trying to make sure you didn't hurt someone. Michael, I know it's been difficult to bond with your son. You know why he's formed an attachment to me? Because I treat him like an adult; you still treat him like a boy.

MICHAEL: He's 10 years old.

LOCKE: He's been through more than most people in their entire lifetime. Maybe you haven't spent enough time with him to see it, but he's different.

MICHAEL: What did you say?

LOCKE: And we're not back home. As long as we're here, I think Walt should be allowed to realize his potential.

MICHAEL: Stay away from my son. And me.



[Shot of Walt as a baby with Michael, playing on the floor.]

MICHAEL: You're not taking him. You're not taking my son. You can go if you want to, but Walt stays with me.

SUSAN: I'm trying to have a discussion with you.

MICHAEL: No you're not. You're talking about going to Amsterdam, just you and him. How is that a discussion?

SUSAN: It's an offer, Michael. And that's where the job is.

MICHAEL: You said you were happy. What about the legal clinic being a good fit? You said that...

SUSAN: This is a huge opportunity. You know I've always wanted to do international law.

MICHAEL: Am I supposed to be happy for you over here? For your huge opportunity?

SUSAN: We've talked about taking some time apart.

MICHAEL: Baby, I thought that was -- hey, we said a lot of things. You said you wanted to live on a boat.

SUSAN: I still love you. You know I do, but, Michael, we've been through so much in such a short time. Things...

MICHAEL: Babe, we've got problems, that's what people have. You want to go to counseling? I'm down with that, let's go, alright? [Susan looks down and sort of shakes her head.] Oh, man, you already took it, didn't you -- the job?

SUSAN: Yeah, I did. You haven't worked in months.

MICHAEL: Construction slows in the winter -- I already told you that.

SUSAN: I can provide for him. I'll give him everything he needs.

MICHAEL: Except for his dad. He's not going with you, so, no!

SUSAN: You really want to argue with me about this?

MICHAEL: Hell yes! There are laws against this kind of thing.

SUSAN: We're not married, Michael. I'm his mother and I'm steadily employed. Who do you think court's going to side with? This is not goodbye forever. I just -- I need some time.

[Back on the island we see of Walt sleeping while Michael watches him. Sun approaches.]

SUN: Are you alright?

MICHAEL: No, I'm okay. Thanks. I just don't know how to talk him. How to get him, you know, to understand I'm on his side. Locke says I should stop treating him like a child. I missed his whole childhood, so -- this can't happen.

SUN: What?

MICHAEL: He can't grow up here. He can't grow up in this place.

[Shot of Sayid spreading out maps.]

SAYID: Once I realized these equations were coordinates, latitude and longitude, I assumed the French woman was trying to determine the location of the island. But it was incomplete, the notations fragmented.

SHANNON: Except for the fish song.


JACK: The what?

SAYID: But when I laid the pages down like this [Sayid lays the maps on top of each other revealing a triangle] I realized it wasn't showing the location of the island. I think it's a location on the island. Specifically, here.

JACK: So where are we in relation to the triangle?

SAYID: Well, the map is hardly in scale, so I don't know.

JACK: We're not even sure it's a map of this island, are we?

SAYID: We're not, no. But this may be the transmitter sending out the distress call. And its power source.

MICHAEL [entering]: What are we talking about doing now? Looking for another excuse to get chased down and killed by whatever lives in the jungle? Guys, we can't keep doing this. Building water filtration systems? Playing golf? Making a sweet little home here? We need to get off this island.

SHANNON: You think any of us wants to be here?

MICHAEL: No, but I don't think anyone wants to get off as much as I do right now.

JACK: So, are you suggesting something?

MICHAEL: Yeah, we build a raft.

SAYID: A raft?

MICHAEL: Look, don't say it like that, man. We need a little optimism here, okay? And we've got to do something because let's be honest, no one's coming. Those seats we took off the fuselage, they float. We've got an axe, and a whole bunch of trees, bamboo. We can do this.

SAYID: The chances of surviving the rough waters? The odds of finding a shipping lane?

SHANNON: And I get really sea-sick.

MICHAEL: You know what? Great. Stay here. Grow old. Good luck to you, but I'm doing this. My son and I are leaving. Anybody that wants to help us build, God bless you.

[Shot of Walt reading the comic book, slowly turning the pages: Cover of the Flash, prologue page showing insect aliens, alien being kept prisoner, shot of a city on top of a dome in the water in something that looks like the arctic, polar bear.]

WALT [reading outloud]: Conardo sepe que machio une oso polar. (This seems to make no sense the way Walt said it, except for Polar Bear.)

MICHAEL [entering]: Hey, Walt. Hey, c'mon I need your help with something.

WALT: I'm doing stuff.

MICHAEL: You're reading a comic book in Spanish and you don't read Spanish, man.

WALT: I like the pictures.

MICHAEL: You like the art, huh?

WALT: I guess so.

MICHAEL: You know, when I was your age, I don't know, maybe a little older I used to trace comic books. I taught myself about perspective. You know what that is -- perspective?

[Michael grabs the comic when Walt doesn't answer.]

WALT: Hey!

MICHAEL: I said I need your help. Let's go.

WALT: Why do I have to come?

MICHAEL: Because I've seen what happens when I don't keep an eye on you.

[Shot of Michael on a pay phone.]

MICHAEL: Let me talk to him.

SUSAN: He's 24 months old. He doesn't use the phone.

MICHAEL: I'll do all the talking. I just want him to hear my voice. I miss him.

SUSAN: I know. Let me call you back, okay? This isn't a good time, okay?

BRIAN: We've got to go.

SUSAN: Shh. It's Michael.

MICHAEL: Who's that?

SUSAN: Let's talk tomorrow, okay? I'll call you from work?

MICHAEL: What the hell is going on?

SUSAN: Michael, listen, I've been seeing someone.

MICHAEL: What? Who?

SUSAN: Does it make any difference?

MICHAEL: Who is it?

SUSAN: Brian Porter.

MICHAEL: The guy who hired you.

SUSAN: It wasn't like that before.

MIHCAEL: So when you said you needed time to think about us, you were just lying.

SUSAN: No! I did, and I realized. . .

MICHAEL: I'm coming to Amsterdam.

SUSAN: Michael don't. It's over between us.

MICHAEL: I'm not coming for you. I'm coming for Walt. I'm getting my son back.

[Michael slams down the phone, walks into the street and gets hit by a car.]


[Shot of Kate and Charlie at the beach. Charlie is looking through Claire's bags.]

KATE: Charlie?

CHARLIE: Hey. These are Claire's things. Who brought them here?

KATE: I did. Why? What are you doing?

CHARLIE: I don't know where it is?

KATE: What?

CHARLIE: Claire's diary. She kept her diary in this side pocket. I know because I saw her put it in there. Someone's taken it.

[Shot of Michael and Walt sorting some salvaged plane wreckage.]

WALT: What are we looking for again?

MICHAEL: Any long piece of metal or plastic tubing. Anything that looks like it would work as a frame.

WALT: A frame for what?

MICHAEL: You'll see soon enough. Hey, separate the cushions, the plastic, the tarp. Put everything you find in different piles so we can take stock.

WALT: Am I being punished?

MICHAEL: What? You think working with your old man is punishment? No, man, this us taking control of our destiny.

WALT: Feels like punishment.

[Shot of Kate and Charlie walking up to Sawyer's digs.]

KATE: Sawyer? Hey, Sawyer?

[No answer from Sawyer.]

CHARLIE: You know, I could just go inside and. . .

SAWYER [from behind them sitting on the beach]: Trick or treat. What are you two selling today?

CHARLIE: Where's Claire's diary? Someone took it from her bag.

SAWYER: Oh I get it, something goes missing and right away you figure it's got to be me that took it.

KATE: Do you have the diary or not?

SAWYER [pulling the diary out]: You mean this one?

CHARLIE: Give it to me.

SAWYER: Now, I'm not sure that's the best idea. Maybe missy Claire don't want you reading it.

CHARLIE: I wasn't going to read it.

SAWYER: You're not curious what she wrote about you?

[Charlie tries to grab the diary, but Sawyer moves too fast.]

CHARLIE: You bastard. Did you read it?

SAWYER: Good literature's kinda scarce around here.

CHARLIE: He read it.

KATE: Just give it to us.

SAWYER: Dear Diary, I'm getting really freaked out by that has-been pop star. I think he's stalking me.

KATE: Sawyer.

SAWYER: Diary, the little limey runt just won't let up.

[Charlie punches the wound on Sawyer's arm, Sawyer drops the diary and Charlie picks it up. Sawyer slugs Charlie in the face.]

CHARLIE: You hit like a ponce.

SAWYER [walking toward Charlie for more]: Oh, yeah. . .

KATE: Enough. [Sawyer backs off.] You didn't really read it, did you?

SAWYER: I just hadn't gotten around to it yet.

[Shot of Walt sitting in the foreground while Michael is sorting through the salvage. Walt sees Boone and Locke walking through the area and disappearing up a path to the caves.]

WALT: Um, I'm going to get some water.

MICHAEL: Okay. Would you bring me some? Please? [to himself] Please and thank you; I've got to work on that.

[Shot of Boone and Locke coming into the caves. Shannon approaches.]

SHANNON: Boone. Hi. So are you guys just going to keep coming back without any food? [Boone doesn't answer.] Hey, I'm serious.

BOONE: Uh-huh.

SHANNON: What's going on with you, Boone? Could you be acting any weirder?

BOONE: Shannon, you've been a functioning bulimic since junior high. I thought you'd be excited about dropping a size or two.

SHANNON: Well, since you're not having any luck with hunting maybe you should help Michael. He's building a raft. I was thinking I would help him out, maybe finally get the hell out of here. Why don't you help me?

BOONE: No, thanks.

[Shot of Locke with his knife case, holding a pencil, sitting by a fire. Walt approaches.]

LOCKE: You're father doesn't want us spending time together.

WALT: He's not the boss of me.

LOCKE: But he's your father. And he cares about you. And you need to show him respect. I'm serious, Walt. You're not to come to me anymore.

MICHAEL [off camera at first]: Damn it! What is wrong with you?

LOCKE: I was just coming to see you.

MICHAEL: I told you to stay away from my son.

WALT: He didn't. I was just gonna. . .

MICHAEL: Walt, I don't want to hear from you.

LOCKE: I was just giving him this pencil to give to you. I thought you could use it. Consider it a peace offering.

MICHAEL [whispering in Locke's ear]: If I catch you with my son again, I'll kill you.

[Locke walks off with the pencil and his case.]

WALT: You're a jerk.

MICHAEL: What'd you say to me?

WALT: Mr. Locke didn't do anything wrong. He's my friend.

MICHAEL: He's not your friend anymore. I'm looking out for you.

WALT: You don't care about me. You never cared about me.


WALT: You only showed up after my Mom died. Where were you when I was growing up, huh? Nowhere.

MICHAEL: Listen, Walt, it's complicated.

WALT: I don't even care. You're not my father.

MICHAEL: You want to hate me? You want to punish me for something I can't change, fine? But you will listen to me.

[Michael takes the comic book from his back pocket and throws it in the fire. The comic book is open to the polar bear page.]

MICHAEL: Now, you get over there, and you stay there. Now!

[Shot of Michael looking at the comic book in the fire.]


[Shot of Michael drawing a guy in a hospital in traction with a birthday cake on his lap.]

NURSE [looking at the drawing]: Hm, that's really wonderful.

MICHAEL: Oh, thanks. It's for my son. He'll be 2 next week.

NURSE: Yeah? I didn't know you had a kid.

MICHAEL: Yeah, yeah, um, he lives in Amsterdam with his mom.

NURSE: Ever go to visit him?

MICHAEL: No. No, not yet. I had a little, you know, run in with a car. I never know what to write.

NURSE: How about a joke?

MICHAEL: What kind of joke?

NURSE: How about what's black, white, and red all over?

MICHAEL: Yeah, a newspaper, right?

NURSE: A penguin with a sunburn.

MICHAEL [laughing]: That's really dumb.

NURSE: Trust me, mother of 4 talking here. He'll get a kick out it.

SUSAN [off camera at first]: Hello, Michael.


SUSAN: I finally called Andy when I hadn't heard from you in over two months. I had to hear about your accident from him. You should have called me.

MICHAEL: Yeah, well, considering how our last conversation went.

SUSAN: I'm so sorry about that.

MICHAEL: Hey, did you bring Walt?

SUSAN: No. No, he's at home.

MICHAEL: Oh, with Brian. So what are you doing here anyway?

SUSAN: I came to see you.

[Scene switches to Susan pushing Michael in the wheelchair down a hospital corridor.]

MICHAEL: So I look pretty good, huh?

SUSAN: Not that bad -- nurses say you'll make a full recovery.

MICHAEL: Yeah, after a year of physical therapy. A year!

SUSAN: I'm covering all your medical costs.


SUSAN: I've already spoken to the hospital administrator and all your bills are coming directly to me.

MICHAEL: What is this about?

SUSAN: Brian and I are getting married.

MICHAEL: How nice for. . .

SUSAN: No, you don't have to say anything, just listen. We're moving to Italy at the end of the month. Brian's taking over the firm's Rome offices.

MICHAEL: Sounds like Brian's on a roll.

SUSAN: And he wants to adopt Walt. I know this is hard, but just think about it.

MICHAEL: You're kidding me, right?

SUSAN: Consider what's best for Walt. You can keep holding on if you want, but ask yourself why you're doing that. Is it really for him? Or is it for you?

[Shot of Michael sitting looking at a book. Hurley approaches.]

HURLEY: Uh, dude? Your kid's gone.


HURLEY: He just grabbed the dog and took off.

MICHAEL: I know where he's gone.


[Shot of Locke in the jungle sharpening a knife. Michael approaches.]

MICHAEL: Locke, where the hell is he?

LOCKE: What?

MICHAEL: I'm not in the mood for your games, man. Where's Walt?

LOCKE: Walt's not here, Michael.

MICHAEL: Don't lie to me.

BOONE: Hey, man, he's not here. Look around.

MICHAEL: I'm not talking to you.

LOCKE: I told him this morning that he couldn't be around me anymore, trying to respect your wishes.

MICHAEL: Well, if he's not. . .

LOCKE: Let's go find your boy.

[Shot of Kate and Charlie bringing Claire's bags back to the caves.]

CHARLIE: Thanks. You really didn't have to help, you know. I could've managed. I've had my share of manly encounters.

KATE: I just thought you could use the company. You okay?

CHARLIE: Yeah. It's weird. I barely knew her -- barely know her -- Claire. She's been missing over a week and everyday she's gone it feels like bits of me are crumbling or something.

KATE: I think it's right that you should keep her stuff safe, until she gets back.


[Charlie takes Claire's diary out of the bag and has a scene where he tries to not give in to temptation and read it. Finally puts it back in the bag and leaves.]

[Shot of Walt in the jungle with Vincent.]

WALT: C'mon, Vincent.

[We hear the sound of something growling. Vincent barks. Walt looks around. We hear the sound of rustling in the jungle. Vincent starts barking and trying to run.]

WALT [struggling to keep hold of Vincent]: Vincent, cut it out. Cut it out, Vincent. What's wrong?

[Vincent's collar breaks, and he runs off.]

WALT: Vincent!

[Walt drops the leash and runs after the dog.]

WALT: Vincent! Vincent!


[Walt is in a house lying on the floor staring at Vincent.]

SUSAN [off camera to Brian]: You should have seen him trying to weasel his way out -- anything not to let the case go forward. He was arguing it wasn't his jurisdiction.

BRIAN: Oh, you're kidding me.

SUSAN: I wish I was. Same argument 3rd time in a row. Barkley said it was an immigration issue.

BRIAN: Barkley, that's classic.

SUSAN: He thinks because I'm new to Australian law that I'm some kind of yokel or something. [to Walt] Hey, hello -- homework.

WALT: I told you, I need help.

BRIAN: He needs help.

SUSAN: I'm a lawyer, sweetheart, I can tell when someone's stalling.

WALT: Who cares about birds of Australia, anyway? We're in Australia.

BRIAN [to Susan who looks ill]: You okay?

SUSAN: I'm feeling kind of flu-ey.

WALT: Shouldn't we be studying birds of Egypt or something?

BRIAN: You haven't been sleeping much lately. Maybe you need to take a personal day.

WALT: I picked the Bronze Cuckoo (Walt mispronounces it "Kahuku"). It's funny. Wanna see?

SUSAN: What about Barkley?

WALT: I mean, it doesn't look funny, just the name.

SUSAN: Sleeping in late that's too much. . .

WALT: Hey, Brian, look, look. You're not looking. You're not looking.

[A bird smashes into the window.]

SUSAN: Oh, my god.

[Walt and Brian go to look at the bird on the ground which is brown-black and red.]

WALT: Is it dead?

BRIAN: Yeah, poor guy.

[Brian gives Walt a weird look, and Walt goes back to his bird book. Neither of the birds in the book looks like the dead bird.]

[Back to the island. Shot of Walt from the ground up.]

WALT: Vincent! Vincent!

[Sound of rustling, growling in the jungle.]



[Someone is knocking on a door. Then we see Michael open the door to reveal Brian.]

BRIAN: Michael Dawson?

MICHAEL: Yeah, can I help you?

BRIAN: I'm Brian Porter.

MICHAEL: Susan's Brian?

BRIAN [nodding]: Can I come in? I need to talk to you.

MICHAEL: Susan know you're here, man?

BRIAN: Susan died yesterday. Please [nodding toward the door.]

MICHAEL: Um. . . [he opens the door to let Brian in.]

BRIAN: She, uh, it turns out she had a blood disorder. She was only sick for about a week.

MICHAEL: I didn't know. I, uh, I hadn't talked to her in a while. Sit down. And, Walt, how's he, uh. . .

BRIAN: He's fine. He's back home with his nanny.


BRIAN: I mean, he's fine -- I mean, considering, you know.

MICHAEL: You left him home after he just lost his mother?

BRIAN: Before she died, Susan, she told me she wanted you to have custody of Walt.

MICHAEL: She what?

BRIAN: Well, I think she just thought, I mean -- since you're his father.

MICHAEL: I haven't been his father in 9 years.

BRIAN: Yeah, well, that's kind of the thing, see. Look I loved Susan very much. And I was honest with her from the beginning, but she -- she wouldn't hear it.

MICHAEL: Hear what?

BRIAN: That I -- I didn't want to be a father. I just don't know how.

MICHAEL: Hey, what the hell are you talking about, man?! You adopted him.

BRIAN: Yes, yes, yeah, because she wanted that, and I wanted her. Look, these are two tickets - one round trip, the other one-way, Sydney to New York. The envelope has money in it for travel expenses.

MICHAEL: She didn't tell you she wanted me to have custody of him. This is your idea.

BRIAN: I'm a wreck right now, okay. Don't you understand that?

MICHAEL: I'm supposed to give a damn about you?

BRIAN: I just lost the woman I love, alright? I can't be his father. . .

MICHAEL [grabbing Brian by the collar and shoving him up against the wall]: You son-of-a-bitch, what the hell are you talking about? You're the only father he knows.

BRIAN: It's more than that.

MICHAEL: Well, then what?

BRIAN: There's just -- there's something about him.

MICHAEL: What the hell are you talking about, man?

BRIAN: Sometimes when he's around things happen. He's different somehow.

[Back on the island, we see Vincent's leash on the ground.]

MICHAEL: Over here. [he picks up the leash] What the hell wou. . .

WALT [yelling from a distance]: Help, please! Help!


LOCKE: This way.

[They run after Walt's voice.]

MICHAEL: Walt! Walt!


[We see a long corridor in Walt's house in Australia. The Nanny and Michael walk into frame at the far end.]

NANNY: Walt should be home from school any minute. [she hands Michael something] Mr. Porter asked me to give you that - some of Susan's effects.

MICHAEL: Oh, thanks.

NANNY: There's something else. [she hands him a wooden box]

MICHAEL: What's that?

NANNY: Something I think Walt should have. Excuse me.

[Michael opens the box. Inside are a bunch of papers. Michael sighs.]

NANNY: Walt? There's somebody here to see you. [Michael starts walking slowly down the long corridor.]

[Back on the island we hear growling-type sounds and see Michael running, looking for Walt.]

WALT: Dad!


WALT: Dad! Dad, help, please.

[We see a polar bear trying to get to Walt who is hiding in a grove of trees/bamboo.]

WALT: Help!


[Michael starts to run toward Walt, but Locke stops him, puts his hand over his mouth and shushes him. Shot of the polar bear still trying to get Walt.]

WALT: Dad!

LOCKE [looking up at the trees]: C'mon, up here. Michael.

WALT: Dad! Dad.


[We see Walt in a room playing with Vincent. Michael comes in.]

MICHAEL: Hey, Walt.

WALT: Who are you?

MICHAEL: I'm a -- I'm your father. Hey, um, I want you to know -- listen, I can't explain how sorry I am about your mom. You should know that, hey, we loved each other very much when we had you.

WALT: Where's Brian?

MICHAEL: Brian's not here. I've come to bring you home with me.

WALT: I'm not going anywhere with you.

MICHAEL: Walt, can I? [indicating he's like to set the box and envelope down, which he does]. I know this is really hard to understand. All of this. See Brian, Brian loves you very much. He wants you to stay with him, but it's not his choice. It's mine. I'm your legal guardian. And it's not like he's going to disappear from your life. He'll still call you, write to you, come to see you whenever he can. You know, you'll still have your dog.

WALT: But Vincent isn't mine. He's Brian's.

MICHAEL: Brian said you could have him.

[Back on the island we see the polar bear trying to get Walt.]

WALT: Dad!

MICHAEL: Hey, Walt!

WALT: Dad! Dad! Where are you dad?

MICHAEL: Hang on!

[Locke and Michael are making their way across a log beam in the trees to get to Walt. Michael almost falls, but Locke catches him.]

MICHAEL: Okay, okay, okay. Let's go. Hey, Walt, just hang in there, okay? I'm coming, man.

WALT: Dad!

MICHAEL: Walt! [to Locke] Throw me the knife. Walt! [he drops the knife down to Walt. Walt picks it up.] If he comes near you, use it.

LOCKE: Michael.

[Locke throws him some vines which he uses to climb down to Walt.]

MICHAEL: Stay there, buddy.

[We see Walt stab at the polar bear.]

WALT: Dad!

MICHAEL: Are you okay?

WALT: Yeah.

MICHAEL [tying vines around Walt]: Alright. Whatever you do, you hold onto this tight. Got me?

WALT: Yeah.


WALT: What about you?

MICHAEL: Don't worry about me. I'll be right behind you, okay? Hold on. Okay, Locke, now! Pull!

[Locke starts to pull Walt up to safety.]

MICHAEL: Pull him, Locke.

[We see the polar trying to get to Michael.]


[Shot of the polar bear trying to get Michael. Michael hits the bear with the knife. The bear has blood on its snout, screams a bear scream, and runs away. Michael climbs up to Walt and Locke. He gives Walt a thank-god-you're-not-dead hug.]

WALT: I'm sorry. I'm sorry. . .

MICHAEL: No, no, no, it's okay. We're okay. I'm just glad you're safe.

WALT: But, Vincent. He ran off again.

LOCKE: He found his way back to you once, Walt. He will again.

[Locke and Michael share a look of appreciation/understanding and a smile.]

[Shot of Walt sitting up against a piece of wreckage. Michael approaches.]

MICHAEL: Hey, I've got a present for you. [he gives Walt the wooden box] Since you like to look at pictures.

WALT: What's this?

MICHAEL: Go ahead. [Walt opens it] Every card, every letter I sent you over the last 8 years.

WALT: You wrote me?


WALT: I never saw these. Did my mom have these? Why didn't she give them to me?

MICHAEL: I don't know. But she didn't throw them away, either, which means, you know, somewhere inside she wanted you to have them.

WALT: So, you drew these?

MICHAEL: Just for you. This one I did for your 2nd birthday.

[We see a shot of the drawing of the man in traction, and then of a penguin with sunglasses.]

WALT: A penguin -- with a sunburn? That's dumb.

MICHAEL: Yeah, I know. That's what I said. [they laugh]

[Shot of Charlie back at the caves reading Claire's diary: make-up, bathroom stuff, brush, water, books, camera, gum, hat, jerky, CDs, candy / I HATE HIM ... realized I really like Charlie, something about him that's just so adorable and sweet. Even in a scary place like this Charlie makes me feel safe. Charlie reads something interesting and goes to Jack and Sayid.]

CHARLIE: Jack. Sayid. You have to hear this.

JACK: What is that?

CHARLIE: It's Claire's, her diary.

SAYID: You're reading her diary?

CHARLIE: Yeah, I know, I'm bloody scum. Just listen to this. "I had that weird dream again, the one with the black rock I can't get away from. I try to leave it but it won't let me."

SAYID: Black rock?

JACK: It's just dreams, Charlie.

CHARLIE: No, Sayid mentioned Black Rock before.

SAYID: The French woman mentioned something about her team returning from the Black Rock. The triangle on the map. Maybe it's the triangle on the map.

CHARLIE: Maybe it's where Claire was taken. Maybe she's there?

JACK: Maybe. Charlie, we all want to find Claire, but there's no sense going out into the jungle in the middle of the night.

[Shot of Boone, and Locke blowing the dog whistle.]

BOONE: I don't think that whistle's working, John.

LOCKE: You can't hear everything, Boone. The sooner you learn that, the better.

[Locke blows the whistle again and we hear footsteps, rustling.]

BOONE: Well, I heard that. Vincent. Vincent is that you? Vincent.

[Claire emerges from the bushes looking awful.]

LOCKE: Claire?