Official Lost Podcast transcript/April 9, 2009

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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.

Robert K S is responsible for this transcription. It is one in the series of the Official Lost Podcasts.

KRIS WHITE: Did Sun and Lapidus "shack up"? Was Locke only "mostly dead"? And, did Desmond have a bullet-proof carton of milk with him? We'll have answers to those questions and more in today's official Lost audio podcast.

[Opening Lost Theme]

KRIS WHITE: Hello, everyone, and welcome back to another round of our podcast. We're here today with executive producers Damon Lindelof and Carlton Cuse to rehash the episode "Dead Is Dead" and take a look at our upcoming episode "Some Like It Hoth", which airs Wednesday, April 15th at 9 P.M., followed by a brand new episode of The Unusuals. Don't forget that you can submit your questions, ponderings, musings, and other thoughts for Damon and Carlton at Here now are Damon and Carlton.

CARLTON CUSE: Hello, Damon!

DAMON LINDELOF: Hi... there... Carlton.

CARLTON CUSE: How are you today?

DAMON LINDELOF: I'm awesome. How are you?


DAMON LINDELOF: Wh—what are you up to? Besides this?

CARLTON CUSE: Uh, we are leaving this podcast to go over and—we're going to look at the first assembly of the entire finale together, which—

DAMON LINDELOF: So—the finale has been shot.

CARLTON CUSE: It's been shot, it's been loosely edited in the sense that basically all the scenes are cut in some form or another. They're all going to be put together, and so we're going to actually—we've—we've seen some scenes from the finale, but we have not actually watched the editors' assembly of all the scenes from beginning to end, so that's gonna be very exciting to see, y'know, how it, uh, how it's playing.

DAMON LINDELOF: And we're going to do that with Mr. Jack Bender, who, uh, who is the director of the finale.


DAMON LINDELOF: Who we very rarely get to spend time with, because he's in Hawaii, and... and we're here.

CARLTON CUSE: The other thing which is fun is that at the end of the season, our three main editors, Steve Semel, Mark Goldman, and Chris Nelson all collaborate on the finale, so it's kind of—

DAMON LINDELOF: It's like Voltron.


DAMON LINDELOF: They all—they all form—

CARLTON CUSE: Yes, they—

DAMON LINDELOF: —sort of like a giant robot editor.

CARLTON CUSE: I know. But it's great, because they're all really talented artists in their own right, and sort of—everyone works very colloborative—throws their notes in, and it's kind of a fun and crazy process of actually putting the finale together, so...

DAMON LINDELOF: Right. So it's a two—it's essentially a two-hour movie—


DAMON LINDELOF: —and it will be completely edited within two weeks.


DAMON LINDELOF: Less than two weeks.

CARLTON CUSE: That's insane.

DAMON LINDELOF: But we took—we took a little time to—to talk about "Dead Is Dead", which is an episode—obviously, we—we've been doing a lot of storytelling in DHARMA times. Last—in last week's episode, we didn't get to see any of those DHARMA folks at all, except for that photograph that, uh, that Sun is hauling around, instead choosing to follow the continuing adventures of a resurrected Locke, Ben, Sun, Lapidus, and—and, I guess, from the looks of things—the smoke monster.

CARLTON CUSE: I have one burning question about this episode. Were Lapidus and Sun shacking up in DHARMAville?

DAMON LINDELOF: That's a great question, 'cause when—when Ben enters, Lapidus sort of emerges from another room with his shirt half unbuttoned...

CARLTON CUSE: ...pretending like, "Oh, I was in the other room, I wasn't basically, y'know..."


CARLTON CUSE: "..doing whatever with Sun."

DAMON LINDELOF: I'm gonna say no. Lapidus and Sun like each other just as friends.

CARLTON CUSE: I'm gonna say yes. I'm gonna say they secretly, uh, were shacking up.

DAMON LINDELOF: Okay, well, that's an interesting, and... and, uh... well, let's just leave it at interesting—

CARLTON CUSE: Let's leave it at—

DAMON LINDELOF: —theory. But as far as burning questions go, I think that Ben basically—

CARLTON CUSE: I'm sorry, there's a burning question better than that one?

DAMON LINDELOF: This is—this is the real burning question.


DAMON LINDELOF: So Ben Linus has proven himself to be completely untrustworthy on almost every level. When he first wakes up and he sees Locke's over his bed, he basically says, "Oh, hey, Locke, I... I'm not surprised, I was totally expecting you to come back to life, and I—here's a really good explanation for why I killed you, and I've come back to the Island to be judged, because I feel like I broke the rules by turning the wheel." But by the end of the episode, we have a subtly different story from Ben. That story is: that "I came back from the—to the Island 'cause I feel guilty about my daughter being killed as the result of a decision I made." But more importantly, he tells Sun, "I'm completely flabbergasted that Locke is still alive. I've never seen anything like this before in my life." Thus the title of the episode, "Dead Is Dead". So the question becomes, who—who is Ben telling the truth to? Are we to believe that he's never seen a resurrection before?

CARLTON CUSE: You know, Ben is a, uh, is an amazing liar and a pathological liar, and so it's hard to believe anything he says, but I have to say that the sincerity with which he, uh, posited that he's never seen anything like that before, and his genuine sort of consternation over Locke's resurrection leads me to believe that—that he's telling the truth in that situation—that he—he really was extremely surprised that Locke is, uh, up and walking around. It was not anywhere in his bandwidth of expectations.

DAMON LINDELOF: Is it possible that Locke was only mostly dead.

CARLTON CUSE: Yeah! Could be. I mean, it's confusing to me why and how it is that Locke is up and walking around if we have never seen anybody else resurrected on the Island, like, I—I don't quite understand how that works.

DAMON LINDELOF: Well, knowing this show, you'll never explain it to us, Carlton, so let's just move on. Something very else, uh, I think that—that people were probably wanting us to talk about on the podcast in terms of what happened at the end of this episode is, we are now perhaps looking perhaps slightly at this woman Ilana in a different way. When Lapidus returns back to help the Ajira folk, they—they—in grand Lost tradition are not ready to embrace him. He—he experiences something very different, which is, this—this woman Ilana asks him a question.

CARLTON CUSE: Can I ask you this question, Damon?


CARLTON CUSE: Do you know what lies in the shadow of the statue?

DAMON LINDELOF: I don't. I don't know what lies in the shadow of the statue, which is probably why you're getting ready to—

CARLTON CUSE: [Giggles] Gonna hit you in the head...

DAMON LINDELOF: Yeah, exactly.

CARLTON CUSE: ... with a rifle butt?

DAMON LINDELOF: Again: the moral of the story here is "always take a guess". If you don't—

CARLTON CUSE: [Giggles] Exactly, like...

DAMON LINDELOF: If you don't know the answer to a question—

CARLTON CUSE: Why didn't he just take a shot at it?

DAMON LINDELOF: —just take a guess.


DAMON LINDELOF: He might have gotten it right!

CARLTON CUSE: He could've like, thought, rubbed his chin, little, like hairy, chin, and gone, "Jacob, maybe? I don't know."

DAMON LINDELOF: I would've—I would've said, "Sand?" And then, she would've gone, she would've said, [Ilana accent] "Technically, you're right. But that—"

CARLTON CUSE: [Giggles] Boom!

DAMON LINDELOF: "—that is not the answer—"

CARLTON CUSE: Boom! [Giggles]

DAMON LINDELOF: "—we are looking for." Boom. Which would've—wouldn't have been as dramatic. Here, though, Carlton, the final thing worth discussing: Desmond. Carrying a bag of groceries. Ben shoots the milk. Apparently, though, the milk, from what I understand, considering cops do not wear milk-proof vests...


DAMON LINDELOF: ...that that bullet has probably permeated the milk... yes.

CARLTON CUSE: It wouldn't be "milk-proof", would it? It would be a... bullet-resistant milk carton?

DAMON LINDELOF: Yeah. A bullet—okay, since...

CARLTON CUSE: ...they don't wear bullet-resistant milk cartons.

DAMON LINDELOF: Yeah. Since they don't wear those, one would posit... We see Desmond—

CARLTON CUSE: That's a great episode title, by the way. "Bullet-Proof"—

DAMON LINDELOF: "The Bullet-Pr"—

CARLTON CUSE: "The Bullet-Resistant Milk Carton".

DAMON LINDELOF: That should've—

CARLTON CUSE: That's what we—

DAMON LINDELOF: —been what we called the season ender.

CARLTON CUSE: Yeah, I don't know why we—why we didn't call it—

DAMON LINDELOF: Now we ended up with up with "The Fork in the Outlet".

CARLTON CUSE: That's it exactly. "The Bullet-Resistant Milk Carton" would've been a great... well, it's too late, now.

DAMON LINDELOF: It is too late. Is Desmond okay? We see him beating the hell out of Ben. He comes to Penny's rescue. Be he—he's been shot. Are—are—are we—what's up with that? Is he gonna be all right?

CARLTON CUSE: Uh, well, look. I—I was very happy to see that he beat the crap out of Ben and threw him in the water, but I'm not that happy Desmond's condition. I'm a little worried about him.

DAMON LINDELOF: Wow. So it's not one of those typical moments on Lost, where somebody gets shot, and, like, the next episode, they're fine?

CARLTON CUSE: Well, that's 'cause they're on the Island.


CARLTON CUSE: I mean, the Island has healing powers.

DAMON LINDELOF: That's a good—

CARLTON CUSE: Uh, I'm not sure that, uh, the same is the case for, uh, Marina del Rey or wherever they are.

DAMON LINDELOF: That is a noble distinction. A little prehashing?

CARLTON CUSE: Okay. "Some Like It Hoth".

DAMON LINDELOF: "Some Like It Hoth". Our first—

CARLTON CUSE: Would that be a reference to...?

DAMON LINDELOF: Don't even say it.


DAMON LINDELOF: You—you know what it's a reference to.


DAMON LINDELOF: This is—this is, um, an episode that we are particularly proud of. The show needed just a little bit of fun.


DAMON LINDELOF: A little fun injection.


DAMON LINDELOF: Not that the stakes aren't high. But considering where we're going after this episode into the intensity of the finale and coming out of an episode where Ben is basically almost strangled by his dead daughter, and she says that she will kill him if he does not follow Locke... it just needed a little bit of brevity.

CARLTON CUSE: [Overlapping] A little—a little levity.

DAMON LINDELOF: Yeah. Brevity or levity?

CARLTON CUSE: [Overlapping] Levity. Brevity—

DAMON LINDELOF: [Overlapping] Brevity—

CARLTON CUSE: [Overlapping] —is short—

DAMON LINDELOF: [Overlapping] —is shortness.

CARLTON CUSE: Yeah, levity is humor.

DAMON LINDELOF: Well, what if it was "bruh-levity"? So it's just, you get the humor very quickly? [Unintelligible]

CARLTON CUSE: [Overlapping] Let's stick to questions. Let's do it. All right, Damon. I'm gonna start today.

DAMON LINDELOF: I wish you would.

CARLTON CUSE: Kris, ready for questions!?

KRIS WHITE: Here we go!

[Question fanfare plays.]

CARLTON CUSE: Uh, this is from Ally in Richmond, Virginia. "Damon, Carlton, I have to ask you you: If you were Sawyer: Kate or Juliet?"

DAMON LINDELOF: If I were Sawyer...

CARLTON CUSE: Would you choose Kate or Juliet?

DAMON LINDELOF: Hm. That's a great question. If I were Sawyer... I would not choose either one of them.


DAMON LINDELOF: I would go out to various nightclubs, and stand around, and allow myself to be surrounded by women.


DAMON LINDELOF: Because... uh, y'know...

CARLTON CUSE: A lot of cougars.

DAMON LINDELOF: Yeah, exactly. [Giggles] Yes, I would have a very hard time choosing.

CARLTON CUSE: In a somewhat related question, Isaiah in Oregon City, Oregon would like to know, "Will Kate marry me?"

DAMON LINDELOF: That—the answer to that one is "No".

CARLTON CUSE: [Giggles] Yeah... Pretty sure—


CARLTON CUSE: —Evangeline or Kate—


CARLTON CUSE: —either—either incarnation—

DAMON LINDELOF: Nah, I don't wanna hurt your feelings. We'll just—we'll just say she's a fictional character, and, uh...




DAMON LINDELOF: Speaking of Kate... "There is definitely some chemistry between Kate and Roger Linus. Kate's initials are K.A. for 'Kate Austen'; Roger's are R.L. for 'Roger Linus'. Put together, K.A.R.L. That spells 'Karl'. Does this mean that these two—


DAMON LINDELOF: "—are going to give birth to Karl?"

CARLTON CUSE: Oh, my God. If only—

DAMON LINDELOF: Answer the question, Carlton!

CARLTON CUSE: —if only probably had thought—Okay, people ask us sometimes, like, "Is there anything that ever gets pitched that you wish that you did on the show?" And the answer is, "Now there has been something pitched that I wish we did on the show." But sadly, Karl has come and gone, and, uh, it's really impossible even with the, um, vehicle of time travel to retcon that he is the son of Roger and Kate, but—

DAMON LINDELOF: That'd be a—

CARLTON CUSE: —that's kind of a genius idea.

DAMON LINDELOF: That'd be a "retkarl".

CARLTON CUSE: A "retkarl", yes.

DAMON LINDELOF: [Overlapping] Is what we'd call that.


DAMON LINDELOF: [Overlapping] All right, next question.

CARLTON CUSE: [Overlapping] Okay, all right. Edward Frisco from Texas...


CARLTON CUSE: It says, fricken' "Texas". It's like—"Not like it's a small place, Edward. You might've put a town."

DAMON LINDELOF: Do you think there's, like, an Edward Dallas, who lives in San Francisco? [Laughs]

CARLTON CUSE: [Laughs] Or there's a Tex Edwards... [Giggles] ...who lives in...

DAMON LINDELOF: [Giggles] Oh...

CARLTON CUSE: [Giggling] Frisco...

DAMON LINDELOF: [Giggling] Not really. Okay, what's the question?

CARLTON CUSE: Damon, "Why did some items disappear and others didn't when individuals were shifting through time. Boats did not disappear as well as some other items that were clearly from other times, like the Zodiac..." Y'know, what—what's up with all of that? What are the rules of that?

DAMON LINDELOF: I—I think the characters have discussed what the rules are, and what they came up with is pretty much the same is what we've come up with as writers, which is, when the initial flash happened, that is, when Ben first turned the donkey wheel, if—if—if you were touching something, for example, you were holding on to a jar of peanut butter, or you were in—in a Zodiac, or wearing your clothes, then whatever you were tou—physically in contact with came with them. And was a—was with that group for any flashes subsequent to that. So the Zodiac was—Faraday was riding in the Zodiac along with Frogurt and some others at the time of the initial flash, and therefore, any time that the sky flashed beyond that point, the Zodiac would actually move with them, although, when they returned to the beach, it—it appears that somebody has taken the Zodiac. But, if they're not touching something, objects from other times do not travel with them. So...

CARLTON CUSE: What about dead bodies?

DAMON LINDELOF: Well, Charlotte does not travel—

CARLTON CUSE: Hm, interesting.

DAMON LINDELOF: —um, does not travel with Faraday when the final flash occurs, but—who knows?—there might be different properties because that was a wheel-related flash, too.


DAMON LINDELOF: So when Locke, uh, moves the wheel again and everything returns back to the way it should be, they haven't really postulated on the rules, there. But, we also—we also know that when Alpert gives Locke the compass, which is something that Locke gave to Alpert back in 1954, Locke is able to bring that compass with him, so you can bring objects from other time periods with you, as long as you are in physical proximity to them.

CARLTON CUSE: Right, I mean, it was on—you know, he had it, it was on his—


CARLTON CUSE: —person.

DAMON LINDELOF: We have now presented to you what it took us almost eleven hours—


DAMON LINDELOF: —in the room to decide.

CARLTON CUSE: I think eleven hours would be a—

DAMON LINDELOF: Just a little—

CARLTON CUSE: —a vast understatement.

DAMON LINDELOF: —a little peek into—uh, behind the, uh, the curtain there. "Damon and Carlton", asks Sam Viner from Minnetonka, Minnesota... "I understand that 'whatever happened, happened'. But let me play devil's advocate for a moment. If Jack had worked on Little Ben, and been able to save him, would he have—would he become a different person, like a good guy? Or would he have still grown up to be the monster that he is? Would you not agree that since Jack decided not to save Ben, as he hoped he would die, he really caused the things to happen that he desired to stop? That he indirectly pulled the trigger, blew up the boat, and locked himself in the Hydra?"

CARLTON CUSE: I actually spent a summer in Minnetonka—


CARLTON CUSE: —and it was fantastic. Its Lake Minnetonka is beautiful, its beautiful lake, it's, uh, near Minneapolis, a lot of speedboating. You can actually, like, take a boat to bars. And, uh, what was your question? [Laughs] No, uh...

DAMON LINDELOF: The qu—the question is—

CARLTON CUSE: I got the question, I got the question...

DAMON LINDELOF: —"Is it possible that Jack—


DAMON LINDELOF: "—actually caused Ben to become Ben—


DAMON LINDELOF: "—by deciding not to help him?"

CARLTON CUSE: I—I think that basically—the—I think what you—the way you have to think about it is, is there was a course of events, and maybe it was always preordained that Jack would decline to do the surgery, and that that was part of the course of things, in the same way that Kate was destined to take young Ben to the Others. And I think the question of whether these events are kind of intrinsically a part of fate and destiny, or whether they are alterable is a question that the characters are now starting to really wrestle with. You know, "What is changeable, and how do our interactions cause things to change, or just cause a different permutation of the same result?" I mean, Desmond tried to save Charlie many times from dying. He didn't get shot with an arrow, but, on the other hand, Charlie still drowned in the Looking Glass station, so was that a—was that a course of his timeline that he could never alter? I think, y'know, that's a—it's—it's a very good question. I think the show will be addressing your question with more specificity as we move forward.

DAMON LINDELOF: That's why I asked it.

CARLTON CUSE: Damon, I've got a good question for you here.

DAMON LINDELOF: Please let it not involve time travel.

CARLTON CUSE: It does not involve time travel.


CARLTON CUSE: Okay. "Dear Damon and Carlton..." Uh, this is from Kevin M. up in Montreal—


CARLTON CUSE: —Quebec. "I just bought my very first DHARMA Initiative jumpsuit from and let's just say I get all the ladies at the costume parties." I just kind of have this picture of there being this vast array of costume parties up in Montreal and Kevin is just totally scoring. That's what's happening.

DAMON LINDELOF: Okay—okay, he's getting all the ladies...

CARLTON CUSE: "But anyway, I just want to ask if your plan for the end of Lost will be heartwarming or heartbreaking? Perhaps even a bit of both? If that question will give away more than you want to, then please answer this. If you could be a character on Lost, who would you be, and why? Thanks!"

DAMON LINDELOF: To answer the first part, we're going for heart stopping.

[Damon and Kris giggle.]

DAMON LINDELOF: Um, in—in all the right ways.

CARLTON CUSE: That's good.

DAMON LINDELOF: And, to answer the second part, if I could be any character on the show, I think that I would be... Locke. I'm in a Locke frame of mind right now.


DAMON LINDELOF: And as you may have noticed... I'm losing all my hair. So... why not embrace it?

CARLTON CUSE: [Giggles] Locke is very cool this year. He's a very—he's a badass guy.

DAMON LINDELOF: He is. Who would you like to be, Carlton?



CARLTON CUSE: Neil Frogurt, because...

[Kris laughs.]

CARLTON CUSE: ...if I was shot with a flaming arrow, then I wouldn't have to, uh...

DAMON LINDELOF: on the finale?

CARLTON CUSE:—work—work on the finale.

DAMON LINDELOF: Okay. That can be arranged.

[Kris laughs.]

DAMON LINDELOF: Carlton... Rob... from... it—I think it's pronounced "Wooster", Massachusetts—

CARLTON CUSE: "Wooster", yeah, exactly.

DAMON LINDELOF: "Wooster". Even though it is—there are m

CARLTON CUSE: It's "Wooster".

DAMON LINDELOF: —many letters in there that are not pronounced. Like "C".

CARLTON CUSE: I've been to—I've been to Worcester, too. Worcester's a nice place, as well.

KRIS WHITE: We're going to do the Carlton travel show after this.

[Carlton laughs.]

CARLTON CUSE: Like—what's that guy's name?—Rick, uh, Steve?

DAMON LINDELOF: You can find another partner for that podcast.

[Carlton and Kris laugh.]

DAMON LINDELOF: "Ben"—uh, Carlton, "How exactly did Ben outgrow his need for glasses? Did the Island cure him? Does he use DHARMA brand contact lenses? Or did Jacob give him LASIK?"

CARLTON CUSE: I'm gonna basically say that Ben has a, uh, mild astigmatism and a certain amount of farsightedness, and his need for glasses is fairly minor. He can—he benefits by using them, but simple vanity and practicality on the Island limits the amount of time that he spends wearing his glasses. In the privacy of his own cabana, he would wear his glasses, perhaps, but he can get along without them.

DAMON LINDELOF: That is probably the most comprehensive you've ever given on this sh—on this podcast.

[Carlton laughs.]

DAMON LINDELOF: And—and I—on behalf of the entire listening community—salute you.


DAMON LINDELOF: Final question!

CARLTON CUSE: Okay, final question. "Hi Damon and Carlton. My question is, if Damon and Carlton were ever to show up on Lost as characters, who would play them? I was thinking Ron Perlman as Carlton...

DAMON LINDELOF: Uh-oh. I don't even want to know what the other...

CARLTON CUSE: [Giggling] "...and for Damon, that guy Danny Gokey on American Idol, or maybe Crispin Glover!


CARLTON CUSE: "Any thoughts? Not that it would ever happen, but it's fun to live in the land of hypotheticals, don't you think?" And this is from John Berel from Framingham, Massachusetts. Not a particularly flattering, uh, series of choices that he's postulated.

DAMON LINDELOF: I don't know.

CARLTON CUSE: Well, Danny Gokey's pretty good.

DAMON LINDELOF: Yeah. And Cri—I—I think Crispin Glo—Glover is handsome in a "I-am-totally-crazy"-kinda-way.

CARLTON CUSE: [Laughs] Yeah.

DAMON LINDELOF: Personally speaking, Ted Danson, I think, would play Carlton. And—

CARLTON CUSE: That would be good, yeah. I—I actually have—I—I—I've been mistaken for Ted Danson and, strangely, Bill Walton.

DAMON LINDELOF: And I've been mistaken for, uh—

CARLTON CUSE: I think Bill Walton—it'd be cool to have Bill Walton as Carlton Cuse on Lost.

DAMON LINDELOF: In my pre—in my pre-bald days, I was mistaken for Matthew Broderick, and now that I have lost my hair, David Cross is what I get, so...

[Kris laughs]

CARLTON CUSE: One of my favorite Damon stories is—

DAMON LINDELOF: Because there's—there's a fine line between the two. Heh.

CARLTON CUSE: We were—we were in a restaurant in Hawaii—we were coming out of this restaurant—and this guy comes up to us and says to Damon, "You're David Cross, aren't you?!" And he goes, "No, sorry, he's not." He says, "You are David Cross!


CARLTON CUSE: "You're lying to me!


CARLTON CUSE: "You're liar! You're a liar!"—and like, got really agitated. [Giggles]

DAMON LINDELOF: So somewhere out there, there's someone who really hates you, David Cross. And it's my fault, that I just simply could not claim to be you. Maybe someone's come up to David Cross and said, like, "What's the Monster?"

CARLTON CUSE: [Laughs] Yeah, exactly.

DAMON LINDELOF: Y'know? And, like, maybe it was the same guy.


DAMON LINDELOF: So, on that note, guys—


DAMON LINDELOF: —uh—we—we will not be seeing you next week—but—

CARLTON CUSE: —because we will be in finale—


CARLTON CUSE: —editing—[unintelligible]—

DAMON LINDELOF: —but we will come back to—to rehash "Some Like It Hoth" and—and prehash our hundredth episode, which happens to be titled... "The Variable". All right.


DAMON LINDELOF: See you guys.

[Exit music plays.]

KRIS WHITE: That's it for this edition of the podcast. Join us again in a week or so when we come back to rehash our upcoming episode "Some Like It Hoth" and take a look at the hundredth hour of Lost. "Some Like It Hoth" airs Wednesday, April 15th at 9 P.M., followed by a brand new episode of The Unusuals... only on ABC.

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