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- This article is about the Season 6 DVD and Bluray Extra. For all occurences of this special feature, see disambiguation page: Lost: On Location
A transcript is a retrospective written record of dialogue, and like a script (a prospective record) may include other scene information such as props or actions. In the case of a transcript of a film or television episode, ideally it is a verbatim record. Because closed-captioning is usually written separately, its text may have errors and does not necessarily reflect the true Canonical transcript.
Transcripts for Lost episodes up to and including "Enter 77" are based on the transcriptions by Lost-TV member Spooky with aid of DVR, and at times, closed captions for clarification. She and Lost-TV have generously granted us permission to share/host these transcripts at Lostpedia. Later transcripts were created by the Lostpedia community, unless stated otherwise below.
Disclaimer: This transcript is intended for educational and promotional purposes only, and may not be reproduced commercially without permission from ABC. The description contained herein represents viewers' secondhand experience of ABC's Lost.
Dekku is responsible for this transcription. The following is a special featurette seen on the Lost: The Complete Sixth Season DVD and Bluray box set. It is called the "Lost: On Location", and is a look backstage at the production of several episodes in Season 6.
Jack Bender: "And action!"
[Scene from the actual episode. Lennon says: "If we do this there are risks .. you understand?" Jack: "Do what you have to do."]
[Backstage shot of Naveen Andrews brought into the water]
[Title screen: LA X]
[Jim Van Houten speaks with a crew member]
Jim Van Houten: Where're making the — What are we calling these? — the temple pool, where Sayid is brought back to life.
[Crew working on the temple facade]
Jack Bender: The temple was a major undertaking, and a major collaborative effort from a lot of out brilliant team. I knew I wanted it to be an indoor and outdoor set. And it was Zack Grobler's—production designer—brilliant notion to build the courtyard actually our main sound stage. This was a huge task, it took a lot of planning, and we got it just in time to shoot.
[Images of the construction site]
Jim Van Houten: Shoot's in a week. Nearly done. Nearly camera ready
[Images of a sewing machine at work.]
Jack Bender: The design of the temple dwellers was something our costume designer and I worked hard on because we wanted a different look for them.
[John Hawkes and Hiroyuki Sanada looks at the costumes while the crew keeps working.]
Roland Sanchez: You really relate to the role, the character [cut] Tomorrow, when you'll see all the people, you'll see... It's mindblowing!
John Hawkes: Ok.
Roland Sanchez: So, let's put some clothes on, uh?
Hiroyuki Sanada: Yes!
[Hiroyuki Sanada wears his costume. Roland Sanchez: "So, how do you feel in that?" Hiroyuki Sanada: "It's good!"]
Jack Bender: Roland did a brilliant job designing things that were somewhat cool and modern, and at the same time it felt like it was our island but also slightly different than people we have met before.
Roland Sanchez: I think they really... feel their character in their wardrobe.
[Hiroyuki Sanada tries kicking in his costume]
Roland Sanchez: It's always that sort of like... "wow moment" when they're in it, and they think about it, and they feel it. And they're like: "Wow!"
[Back at Hiroyuki Sanada wearing the costume. Roland Sanchez: "I'm glad you like it, I'm really happy that you like it." Hiroyuki Sanada: "So happy of it." Roland Sanchez: "Good! Good!"]
Roland Sanchez: I'm excited to get them all dressed, to get them on the set, because that set is amazing
[People working of the temple outside set. Voices heard: "Ok, here we go, please. Ready?" "We are rolling" "Rolling!" "And... background" "Background!" "Action!" Backstage shot of Sayid brought to the temple.]
Kimberley Joseph: It feels good to get back to nature, you know? To feel the dirt.
[Shows her feet.]
Kimberley Joseph: Yea, there's not many many pedis here on the island.
Jorge Garcia: Ok, we're inside the temple; we're about to be inside, and I want to show you something that I'm curious about. First is this thing. We have four monkeys. We have this kind of wavy thing... almost seems like electricity have something to do with this. Here's another thing. They got a grill marks and there are these four people lying down on it. Is that the pool? Maybe is the pool of water.
Jack Bender: All of the egyptian symbols were conceived by our writers in Los Angeles—and producers—and there are many surprises in those translations.
Jorge Garcia: But that's was really curious is this guy. I don't know what to make of him. He's got much arms, he's very busy on what's going on. And then I think... All this people coming into one, or is everything splitting out into bunches. I don't even know the direction.
Jorge Garcia: But you know what is really really amazing? This is all styrofoam. Styrofoam made to look like stone.
[Voices: "We're rolling!" Wide shot of the inside of the temple. Hiroyuki Sanada trying martial arts.]
John Hawkes: How do I begin to explain what's going on? I know that I'm a little confused and I prefer it that way. Lennon is a guy who is lieutenant for Dogen, his Kissinger if you will, a diplomatic at times, other times a law enforcer. We're protecting the temple as best we can.
[Backstage shot of a scene from the episode. Dogen: "Kono otoko wo izumi no nakae." Lennon: "Take off the jump suit, put him in."
Jack Bender: Dogen turns over the hourglass...
[Dogen turns over the hourglass.]
Jack Bender: ...and they put his head under water.
[Back to the interview.]
John Hawkes: We seem to be up to no good but I think we're up to some good. Time will tell.
[Backstage shot of the scene. Jack: "What are they doing?"]
Jack Bender: He's still under. And he kicks.
[Backstage shot of the scene. Jack: "He's awake, let him up."]
Jack Bender: Daniel!
[Backstage shot of the scene. Jin: "What are they waitin' for?" Jack: "I said, let him up!" Dogen stops Jack. "Cut!" Images of Naveen Andrews while Jack Bender is heard speaking to the crew.]
Jack Bender: Something is rotten in these holy waters. We don't know what. And Sayid, in fact, dies.
[Images of Jack Bender directing the same scene with the hourglass.]
Jorge Garcia: I see here why Sayid drowns in the pool of water.
[Sayid is kept underwater, while Jack Bender gives direction.]
Jorge Garcia: If you recall when we looked at the pictures on the wall? And those were pictures of the pool, right? And there were bodies in the pool. But in those pictures there are four monkeys, one at each corner of the pool. And, look it: there's no monkeys.
["And cut!" "How was that?" "Great!" "I think we did it." "Thank you Naveen!" Voices become inaudible.]
Jorge Garcia: We do it wrong. We need monkeys.
Norman Kali: Searing caves, stunt units, forming one of the coolest stunts we've done so far on Lost
[Camera pointing down the cliff. Title screen: THE SUBSTITUTE]
Terry Ahue: It's a beautiful day in Kualoa Bay.
Benjamin Taylor Phillips: Doing a stunt on the cliffs with some ladders... And we're gonna throw some people around, and hopefully nobody falls in the ocean.
[Images of the crew working on the rigs.]
Norman Kali: Just getting the crew up and down the trail is a stunt in itself.
Josh Holloway: I'm not really afraid of heights...
[Shooting a scene (not present in the final episode) where Sawyer watches down the cliff and says: "Son of a bitch!"]
Josh Holloway: ...but I have a healthy respect for it, let's say that.
Norman Kali: We have about a 50ft drop on that end; and that's not even the heaviest part yet!
Terry James: Can get so hot down here at the bottom there are about 120 degrees. There the rocks are pretty hot. It takes your concentration and everything away.
Norman Kali: I'm not afraid of heights, especially when I get all this stuff to keep me safe.
Michael Trisler: Anchor. Buckle. Connection. ABC. Check your safety like sixty times a day and then holds me off for five or six minutes, then you check again.
[Shooting the scene where Sawyer is hanging. "Three, two, one, action!"]
Josh Holloway: Of course I was hanging off the cliffs, falling, struggling, swinging over, grabbing the ladder, that stuff.
[The scene continues. Locke/MiB: "Come on, swing, come on!" Sawyer reaches for the safe ladder.]
Josh Holloway: It was difficult, but I enjoyed that as I always enjoy the action on the show. I thrive on that kind of things.
Josh Holloway: So it was a good time, 'twas a good time.
[Crew: "An applause for Josh Holloway, ladies and gentleman." Applause ensues.]
Terry Leonard: The guys who are doing the stunts are rigging these guys to keep the crew safe; they're some nearly heroes in this sequence.
Josh Holloway: Are you kidding me? I did everything... yeah, right! (* chuckles *) We have the most incredible stunt team. Mike Trisler is unbelievable. You know, I did a good job myself, but it wasn't a 40ft whipper into the rocks. That fall is all him.
Michael Trisler: The ropes are gonna pull out on the top. I'm just gonna falling backwards. It's about 36ft of a fall.
Benjamin Taylor Phillips: Big cliff, stunt unit day. We're about to do a little, a little of stunt.
Dave Shultz: This is a brake bar, that's actually supposed to guide down the falling, so, it kinda regulates the speed at the very end, so that you don't snap into the rocks.
[Shooting the stunts. Benjamin Taylor Phillips: "Guys, everybody take a big deep breath. Mike Trisler, are you ready?" Mike Trisler (Sawyer's body double): "Yeah." Benjamin Taylor Phillips: "All right guys, here we go! And... Let's roll cameras. And... three, two, one... Action!" Wide shot of the ladder that drops with Sawyer's stunt hanging from it.]
Josh Holloway: That stunt is amazing.
[The same scene is shown from the top of the cliff.]
Josh Holloway: Thank god for stunt men.
[More images from the stunt scene. Terry James congratulate Trisler.]
Michael Trisler: Many days work... Three days work.
Norman Kali: Hottest, sweatest, probably the hardest exterior day on Lost to date.
[The scene with Sayid and Keamy ia being shot.]
Anthony Azizi: This is Omar and Keamy show. We're gonna kill everybody.
[Title screen: SUNDOWN]
Kevin Durand: How the *bleep* did we get here back?
Anthony Azizi: It's not... Are we allowed to talk about that?
Kevin Durand: Why did they bring us back?
Anthony Azizi: Because it's Lost!
Kevin Durand: Because we're fantastic and people love us.
[Backstage of the scene. Keamy: "Hello, I'm Keamy."]
Kevin Durand: I think it's really exciting to get to... a Rolex and wearing a suit and get to be a rogue like some real... It's some good fun.
[Shooting continues. "Camera..." *cut* "Action!" Keamy hums
Anthony Azizi: Literally Steamy Keamy kicked my ass and picked me up with one arm and bench pressed me. So, I'm still scared oh him.
Kevin Durand: He should be scared!
Anthony Azizi: Nothing really changed...
Kevin Durand: You should all be scared, even sitting back on your freaking couch, you should be scared. Are you scared?
[Kevin Durand makes a "scary" face at the camera]
Kevin Durand: Did it scare you?
Anthony Azizi: It scared me!
[Kevin Durand makes a "scary" face at Anthony Azizi]
Kevin Durand: Well, all right, I'm not that scary.
[Backstage interview with Kevin Durand: "Why call me a mon... You always do that to me: a monster. I'm not a monster."]
[Shooting the scene. Sayid: "Did you put my brother in the hospital?" Keamy: "Do you think I did that?"]
Anthony Azizi: Kevin is one of the sweetest people which you'll ever meet in your life, and to see him play this kind of a sleek mean guy is really showing how good an actor he is 'cause he's really, he's the sweetest.
Kevin Durand: Oh gee... And in real life, he's actually really a bastard!
Anthony Azizi: I am.
[A blood capsule is being applied on Anthony Azizi in order to shoot the scene where Omar gets shot. Anthony Azizi: "Yeah, that's right. You can kill as many time, as long as i get to come back it's all good, OK?" [cut] Anthony Azizi: "Is that a condom?!?" Crew member: "Condoms work the best. Guaranteed no holes." Anthony Azizi: "Safe death instead of safe sex." Anthony Azizi: "I'm gonna die safely, buddy, you're gonna die safely. I had never seen that." The "condom" is finally secured. Anthony Azizi: "Let's go die!" Crew: "Ready... and action!" Sayid holds wounded Omar, gets his weapon and shoots twice. "Ready!"]
Kevin Durand: Well, Sayid and I have had a quick little fight. I really have to say, he give me a good beating.
Anthony Azizi: Naveen, Naveen is a tough guy, man!
[The two start a practical joke on going and coming back, which ends up with Kevin to simulate licking Anthony bald head.]
[Backstage, a crew member is handing Kevin Durand an exact copy of the shirt he's wearing: "If you need more blood there's a bigger pack in there." Kevin Durand: "Oh, cool!"]
[Kevin Durand is wearing the shirt with the blood pack. Anthony Azizi (not shown): "How did you die last time?" Kevin Durand: "How did I die last... You just rubbing in it, now? How did you die last time? Now that you're dying again it's not nice. Crew member: "They shot you all the time." Kevin Durand: "Stabbed in the neck. About seven times. Benjamin Linus got me. And now they're gonna shot after one episode back. They just keep teasing me. They remind me how much I love Hawaii and then they yank it out... Go back, go back home!]
[Shooting the scene. "Ready... and action!" Sayid shoots Keamy who falls to the floor. The same scene is seen from a monitor.]
Kevin Durand: You know, it's an honor to die twice on this show.
[After the shot. "Timing was perfect." "Genious! Genious!" "Ok, moving on, we need a little shot of Kevin cooking eggs" Directing the scene: "And pan... And egg... Yeah, like that."]
Anthony Azizi: How many times, how many eggs you had to crack 'cause it...
Kevin Durand: About thirtyseven...
Anthony Azizi: Yeah, he was cracking a lot of eggs.
[Back to shooting Keamy cracking eggs. "Aw, shit! Cut it, please!" Kevin Durand: "I broke the yolk on purpose. It's kinda like when you're acting, the director says: 'One tear.' One yolk, bro... Masterful! That how I do it." "Silence, quiet please!"]
Kevin Durand: I'm really good at eggs.
Anthony Azizi: That's great!
Kevin Durand: And *beep*, if you have anything to say on me that is contrary to that, you know, I'll crack your eggs.
Anthony Azizi: See, he's dangerous. You are!
Kevin Durand: Am I?
Anthony Azizi: You're very cute, Kevin.
[Details of props from the lab]
Mario Van Peebles: We're in this Biology Laboratory. What's interesting is: we're doing a little filming where everything is contained everyting natural is in cages or behind tanks or little tiny pots, whereas in the jungle, the Rousseau's jungle it's in full force, it's... out there. Here people are in boxes and lines can't be crossed, and... it's all right on the surface.
[Title screen: PERDIDOS]
[Scene from the episode. Reynolds: "Thanks for your understanding, Linus." Ben: "Dr. Linus, actually."]
[Detail of the cover of a book entitled AP European History. Backstage images of kids entering Ben's classroom.]
Michael Emerson: It's a cool parallel world... and it seems plausible, it seems likely, under different circumstances, that Benjamin could have been a quieter and more working-day kind of a person.
[More backstage images of Ben's pupils.]
Michael Emerson: It's nice to explore those possibilities.
[Scene from the episode. Ben: "Alright. Remember, five and six tomorrow. Thank you."]
[Backstage footage. Interviewer: "So, it's a good group?" Michael Emerson: "Very good group. Very obedient, very dramatic." (laughs)]
[Detail of a clapper reading: "3 X 18C 2 - XB 10 16 1627 6/07 - LOST SEASON 6 - Director MARIO VAN PEEBLES - Camera STEPHEN ST. JOHN". The italic parts are stitched using white stickers. The bold numbers read on the seven segments display.]
[Scene from the episode. Ben: "Could you... hypothetically... access someone's email account without their knowledge?"]
Michael Emerson: We see that Ben's hard wiring, no matter which Ben lies wherein, includes his ability to scheme and manipulate.
[Backstage images of the actors shooting of the previous scene. Arzt: "Can I tell you something? Your sweater vest really fooled me Linus... You're a real killer". Cut to Mario Van Peebles laughing, then to Michael Emerson and Daniel Roebuck.]
Michael Emerson: This is my first scene I've ever had with Artz. It's a lot of fun. I've always admired the vividness and funnyness of the character he's created so, it's nice to have a scene with him.
[Daniel Roebuck points to a vat with yellow liquid and something solid in it.]
Daniel Roebuck: This is my lunch. Uh, I've brought it with me to work, which is nice. I generally don't like to have it on the set, but it seemed fun. That is a brain, it's what that is. I don't know whose.
[Backstage images from the shooting. Arzt: "Might as well give them all F's. Tell me, how hard is it to learn the difference between a genus and species?"]
Unknown #1: Oh, the difference between a genus and a species... we were just talking about that.
Tania Raymonde: A genus and a species? Is it... This isn't in the script, isn't it?
Unknown #2: I'm afraid but all of my school, high school Biology is flown completely out the window.
Michael Emerson: Genus is the larger category. There are many species in one genus.
[Cut to Jennings Fowler and Unknown #4]
Jennings Fowler: You mean: kingdom, phylum, class, order, family, genus, species? (smirks)
Unknown #4: (shrugs)
[Back to Ben.]
Michael Emerson: I was about ninety percent sure of that.
[Backstage of the shooting. Arzt: "What about my parking space?" Ben: "You can have mine." Whoosh sound and cut to the scene with Ben's dad. Ben: "I have a doctorate in modern European history, and yet I'm babysitting burnouts in detention. This work is not good, dad!"]
[Makeup session for Jon Gries, to impersonate Roger, Ben's father, at old age. Detail of a make up product. The label reads: "W.M. Creations Inc. - OLD AGE STIPPLE - Keep Tightly Sealed - For Professional Use Only".]
Steve LaPorte: We're going to make Jon Gries about 70 years, something like that.
[Takes a look at Jon's photos.]
Jon Gries: We're gonna go over that.
Steve LaPorte: We're gonna go over this. Just doing the skin.
[Makeup session goes on. Michael Emerson joins in.]
Michael Emerson: I'm sorry you have to come in so early, to get aged, but it looks great.
[Shooting the scene: "Here we go... Roll camera..."]
Michael Emerson: It's nice to have such a sweet scene.
Jon Gries: I know, we're actually nice to each other. That's so great!
[Shooting the scene: "...and, action!" Roger: "You shouldn't be stuck here taking care of your old man, when you should be out raising your own family." Ben: "Uhm..." Roger: "Yea..." Female voice out of frame: "Ding Dong!" Climatic music starts. Ben goes to answer the door: "Who could it be?" Ben opens the door, but instead of Alex, there's Jennings Fowler: "Hey, Dr. Linus, I think I left my shirt in there." People is heard laughing. Ben: "Come in, you're just in time for green beans." Jennings Fowler says: "Oh, green beans!" Then leaves. Ben: "Good! Dad, it's funny Bobby..." Audio and video fade to the...]
[Actual scene from the episode. Ben: "Alex?" Alex: "Dr. Linus!"]
Tania Raymonde: I'm so happy to be back, this is crazy!
[Actual scene from the episode. Alex: "You're the best, Dr. Linus."]
Tania Raymonde: It's something not what I expected, but this is great, I mean... to have a chance to, like, laugh and be happy in scenes with Michael Emerson, it's a good feeling 'cause I really like him and I felt horrible having to say always bad things so... So, I like this version of Alex more. This is good.
[Backstage: "Cut! Great! Check the gate! Check the gate!" "I'm checking" "Great work, guys! Thank you so much!"]
[Scene from the episode. Sawyer: "Mornin', sunshine." Miles: "Come with me." Cut to Sawyer and Miles in the police car, pan back to the camera pointed on them. Cut on Kate running. Cut to interview.]
Ken Leung: I'm sorry can I see you ID?
[Title Screen: RECON. The interviewer is looking inside Ken's jacket.]
Ken Leung: What... What... What d'you... What are you doing? Are you undressing me?
Interviewer: Have you got your own badge?
Ken Leung: Yeah, I got my own badge.
Josh Holloway: Ken and I had a blast playing cops together...
[Backstage images of Miles walking stairs. "Action!"]
Josh Holloway: ...we really play off each other well like, we know, we've been doing it for years which we kinda have, but not that much together, so... We had a lot of fun with that.
Ken Leung: Well, I don't have fun, I protect the city...
[Random images of Miles doing funny faces and moves.]
Ken Leung: ...and you call that fun! You know, I see it as a very important responsibility, so I try not to have fun on work.
[Backstage images of Sawyer and Miles in the police car.]
Josh Holloway: This time around I'm on the right side of the law, apparently.
[Shooting the scene. Jack Bender: "Ok, Ken and Josh are in there... And, action!" Car stops, Sawyer and Miles get out of it, running. Sawyer stops by the alley while a hoodied figure arrives running. Sawyer stops her and pushes her to the wall, revealing her face: it's Kate. Josh Holloway: "Are you okay?" Evangeline Lilly: "Great!" Josh Holloway: "Yeah?" Evangeline Lilly: "Yeah!" A brief montage of backstage images follows, then cut to the interview.]
Josh Holloway: I do feel like, in order to be a good detective you need a little criminal in you, and he has that.
[Shoot scene (extended take of the one present in the aired version). Sawyer: "I'm telling you the truth, Miles. Why the hell would I lie?"]
Josh Holloway: Some of the good things of being a cop: being in building and the whole situation, every conversation is in cars...
[Shoot scene. Kate's car hits Miles and Sawyer's. Sawyer: "Whoa! Whoo! Oh, my car!" Cut to Josh Holloway and Jack Bender talking.]
Josh Holloway: ...definitely being cleaned up, in your city gear.
[Cut to six jumpsuits on a rack, then detail of Sawyer's jumpsuit reading: "LA FLEUR - Head of Security.]
Josh Holloway: I was so over that DHARMA jumpsuit. My god, if I had to put that damn jumpsuit on one more time... It's like a potato sack.
[On screen text: DOWNTOWN HONOLULU]
Ken Leung: Here we are in beautiful downtown L.A.
Ane Tranetzki: We're gonna wreck some cars. It's always fun.
[Images of a special camera used to shot the crashing car.]
Walrus Howard: You know, sometimes you have to walk the dog.
[Michael Trisler (playing Sawyer) and the stunt driver for Kate are discussing the scene. Cut to the assistant director.]
Richard Peter Schroer: "We have one, two, three, four camera going. We have an officer over there holding traffic and two officers up there holding traffic."
[Backstage images of the stunt scene: "Three, two, one, action!" Kate's car approaches the police car braking but hit it the wrong way.
Richard Peter Schroer: Damn, we might be doing that again.
[The wrecked car is moved back by hand. There's actually a guy in it. The scene is repeated, and this time it goes like we saw it in the episode. Applauses ensue and Mike Trisler gives the thumb up. "Yes, we did it!"]
Josh Holloway: The car chase... it was fun to get peeled out in the car and all that... It's good times.
[Shooting the scene. Clapperboard is clapped. "Action!" Sawyer: "Whoa, my car! Hey!" Kate exits the car but falls on her knees. The director calls "Cut!" and instructs to repeat the scene.]
Josh Holloway: Ken and I talked about how we should do a spin off cop show. You know, we're out of work soon: maybe we can write something for ourselves.
[Detail of Richard's face while stuck in the shipwrecked Black Rock.]
Nestor Carbonell: This is... I think today what we're doing is the fifth day on the Black Rock. I imagine I've been without water at least... at least seven days, so I'm in a pretty bad shape (cut) And it's fun... it's a pretty great script.
[Title screen: AB AETERNO]
[A member of the crew is applying fake dirt on Ignacio's teeth.]
Nestor Carbonell: She's doing his teeth and I'm smiling.
[Make up artist: "Thank you." Izzy Diaz: "Great! Am I all set?" Make up artist: "You're done." Izzy Diaz: "Thank you." He grins at the camera. More images of the make up session follow. Cut to...]
[Prisoners making zombie growls. Prisoner: "Water! Uh... Beer?" Crew member: "This is all a bunch of dead people. Ready guys, ready? Alive and now... Dead!" The prisoners all play dead. Cut to...]
Tucker Gates: So, what we're gonna do is... we do wanna get low to be able to see outside thru the grates, because we got the smoke monster effect going on here, right? Do some shadow effects through this two grates as if it's sort of moving quite out here... All right?
[Clapperboard claps. Images of Mirelly Taylor playing Isabella. Voice on set: "And... Monster!!!" Backstage images of Richard and Isabella. Cut to a crew member on the grates, doing the noises and shadow effects.]
Tucker Gates: Maybe even... dust or something down the grates. Right?
[Isabella runs, then screams. Richard: "No! Isabella?" Tucker Gates: "And cut! All right, good."]
Steve LaPorte: Are we shooting the pig scene today?
Nestor Carbonell: We are.
[Backstage images with the pig on the set.]
Steve LaPorte: Pigs are always fun to work with. They're either aggressive or they just kinda run off and you have to chase 'em.
Nestor Carbonell: Great!
[Backstage images of a pig puppet on wheels for special effects.]
Jennings Fowler: Good job, Porky, don't go anywhere.
Interviewer: That's some serious special effects.
Jennings Fowler: Hey, it's a big show.
Tucker Gates: What we're gonna do first is... we're gonna pull Nestor out, we're gonna pull the camera down here, low, and just see to get the pig charge past camera.
[The animal trainer is talking to the pig: "Come on, Anna! Come, come! Come on Anna!" Anna walks down the set. We see the scene being rehearsed while the director talk.]
Tucker Gates: Well, now, what we wanna do is kinda start over here, you know on the hash marks, we're gonna come across and find Nestor close up, right? And his eyes start to move , and we hear the sound of the pig, and we're gonna rise up. The pig notices he's here, right? He's here now, and then the pig charges, right? The pig charges and then goes right on through. And as he go straight, he takes a swing there, at the nail, right. And then the pig moves the nail and it gets here, right.
[Shooting the scene: "And... Pig!" The pig on wheels is moved past Richard who screams. Fade to white. Images of the outdoor set.]
Nestor Carbonell: This is called the gimbal. And it's basically... The set we're working inside, they've built another one out here, on hydraulics, to simulate the ocean. So we'll do a scene in here, with it moving with hydraulics. And that's the scene with Ignacio.
[Shooting the scene with Richard and Ignacio: "Action!" The characters' dialogues are covered by the noises of the mechanics and of the water thrown to simulate rain.]
Nestor Carbonell: You know, I kinda waited for this episode for a while. This is... I've been wondering who this guy is, you know, since I started working on the show. So, now I know he's got a dark sort of past, pretty tragic. Like, I mean, most of the cast have a pretty tragic past.
[Director assistant: "One more time. Ready. And... Action!"
Nestor Carbonell: I really don't know what it's gonna be like on forward, but I'm sure this will inform on how I'll play in certain scenes. But there's other mysteries, there's always a mistery to every character, even if you reveal so much.
[On the set: "Cut! Cut! Cut!"]
Happily Ever After
[Shooting the scene of the car dive. "Set, ready and... action!" "Water!" Set assistants drop buckets of water on the windshield of the car.
Henry Ian Cusick: This is an excellent episode, 6-11, a nice piece of writing. Probably my favourite one so far.
[On the set. Jack Bender: "Fine! Great work everybody!"]
Michael Trisler: For this episode, what we really needed was a near death experience.
[Images from the episode: Charlie takes control of the car.]
[Title screen: HAPPILY EVER AFTER]
Michael Trisler: The critical thing about this scene is: you wanna believe that someone is in the car driving it. So I drove the car into the Ala Wai harbour off a ramp.
[On the set. Terry Leonard: "It's gonna start falling the minute those front wheels drop off that ramp, and then it's gonna start going like this", then mimicks the trajectory of the car with his left hand. Unknown #6: "The car is gonna enter the top right border of the frame and then project down and out of the frame." Terry Leonard: "Do you like the way it is?" Unknown #6: "Yeah!" Terry Leonard: "Lock it! OK, good. Thanks!"]
[Unknown #7 (looking under the hood of the car): "I don't know how it's gonna go anywhere. No engine."]
Michael Trisler: We had to strip the car down, removed the engine and all the dangerous fluids as the EP regulations require. And so we have an empty car and a couple of Spare Airs and three safety divers.
[On the set. Wainani Young-Tomich: "Please, be midful for these cables. There's a cable attached to that Mercedes, it's gonna pull it straight to this two pulleys here. Then it's attached to these two stake beds over there and finally attached to Archie's truck." Terry Leonard: "Everybody's happy with the cameras and all this? Let's shoot this thing boys."]
[On the set. Wainani Young-Tomich: "Roll, cameras..."]
Michael Trisler: Special Effects attached a cable to it so we got about 35 miles per hour of speed and took the car right off the ramp.
[On the set: "Three, two, one..." The Mercedes moves, gets the ramp and takes the water.]
Michael Trisler: The car, as it ran over, really impacted, you know... hard, as a 10 ar 12 ft drop from a pier into the ocean.
[On the set: "Go! Go! Go!"]
Michael Trisler: From the camera inside... we had a cage built so it kinda prevented the roof from knocking me out as well.
[On the set, Mike Trisler emerges from the water and gives the thumb up. Applauses. Images of a heavy vehicle. Images of the car "fished" from the water with a wire.]
Michael Trisler: We did all the post car crash stunts in our tank over here, with the real actors.
[On the set. Jack Bender: "...hand off the wheel, you're dazed, and in those shots we see the car sinking"]
Michael Trisler: We took the exact same car, submerged it in the tank and then we put the actors in the seats, and we shot all that footage, you know, under water, with safety divers and Ian Cusick and Dominic Monaghan. They did a great job under water, gettin' all that footage.
[Crew members talking to Ian Cusick on how to behave under the water.]
[Shooting the scene. Michael Trisler: "Ok, here we go, masks off and... breathing and... mouth pieces and... action!" We see the footage being shot on a Sony monitor. Desmond opens his eyes, bubbles come out his mouth. Images of Jack Bender and Michael Trisler. Desmond tries to unbuckle Charlie. Jack Bender: "That's great!" Desmond exits the car. Jack Bender: "Cut! Beautiful!"]
Dominic Monaghan: Water is one of the elements that I feel the most comfortable in. So it's fun, you know... We got scuba gears down there so we can stay at the bottom and enjoy...
Michael Trisler: Both the actors were really comfortable, they had a great... we had a great day that day, everyone was really relaxed. The fact that day we were relaxed and comfortable under water... we were able to really cover the scene, you know, entirely.
Dominic Monaghan: They're gonna call back so... I'm gonna finish up the scene.
[Jack Bender: "Roll cameras! And mouthpiece out! And action, Ian! Under water, Desmond reaches for the passenger window. Jack Bender: "And, hand!" Charlie puts his hand on the window for a couple of seconds. Desmond retreats and try opening the door. "Awesome! Awesome! Cut! It was beautiful. Great job! Great job, everybody!" "It was exciting!" Jack Bender: "Thank you, it was... it's great!"]