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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.
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Episode 6 - "The Life and Death of Jeremy Bentham"
Directed by: Jack Bender
[On-Island - A dark office. The door creaks open. The intruder surveys the lay of the land: desks and shelves neatly piled with books and documents in folders and various other claptrap—including a small bear skull. Moonlight illumines a few leafy plants, visible through the venetian blinds of the office windows. The intruder is the man who stood behind Jack in line at the Ajira Airways ticketing counter, and sat near Hurley on Flight 316. He tugs at a desk lamp, and the bulb sheds light on the room. On a table, amongst chemical bottles and glassware and textbooks and a chart of the human anatomy, the man finds a sturdy flashlight and clicks it on. The man leafs through a pile of magazines. The one on the top is an issue of Life from April 16, 1954, having a color picture of a bubble-like hydrogen bomb test blast captioned "THE AWESOME FIREBALL". The man eyes a set of file cabinets, then breaks the locks off and extracts a single file folder. Kneeling with the folder opened on the floor, he pushes aside one folded map, and examines another, printed on a single leaf. It is the same map to the Tempest earlier used by Charlotte and Faraday, with large swaths of land marked "Unknown" and hieroglyphs on the open ocean. The next piece of paper he examines shows a network of nodes, one of them marked "EVENT A", another "EVENT B", with the lines linking the nodes labeled "SPACE-TIME", "REAL TIME", "IMAGINARY SPACE", "IMAGINARY TIME"—all in all, this looks very much like something drawn by Daniel Faraday. As the man puzzles, he looks up to see something attached to the underside of the desk. He pries it off—it's a sawed-off shotgun—fully loaded. He puts it in his bag.]
[The door creaks as it swings shut behind a woman. It's the woman we saw escorting the handcuffed Sayid on Flight 316.]
CAESAR: Ilana. What's up?
ILANA: Find anything?
CAESAR: No. Nothing useful.
ILANA: Then what'd you just put in your bag?
[He removes the flashlight from his bag and shines the light in her eyes. Then he throws it at her. She catches it.]
CAESAR: If you want it, it's yours.
ILANA: We found someone—a man.
ILANA: Roxanne was scouting just south of here, and he was just standing in the water. He's wearing a suit.
[Moments later, Ilana and Caesar trek down a large gravel clearing at night, past the wreck of the crash-landed Flight 316.]
CAESAR: Nobody recognizes him?
ILANA: No. Whoever he is, he didn't come with us.
CAESAR: Then how do we know he isn't one of the ones who disappeared?
ILANA: He's not.
CAESAR: And how do you know?
ILANA: Because he wasn't on the plane.
CAESAR: What did this man have to say?
ILANA: You can ask him yourself.
[Viewed from above, it appears that the plane veered just off the large gravel clearing as it crash-landed.]
[Caesar and Ilana emerge from vegetation onto a beach, where roughly a dozen men and women loiter around a well-built campfire. Passenger luggage is strewn all about the sand. Caesar kneels down before a man shrouded in a blanket.]
CAESAR: My name is Caesar. What's yours?
[The man removes the blanket cloaking his head. It's Locke.]
LOCKE: My name is John Locke.
[Locke stands alone on the beach. The ocean waves lap at his bare feet. He gazes off into the distance at another island. The Island.]
[Ilana trods up, barefooted as well.]
[She hands him a mango.]
ILANA: We found a tree. They're pretty good.
LOCKE: Much obliged.
ILANA: I'm Ilana.
LOCKE: [Thumbing to himself] John. [Thumbing behind him] Are those your boats?
[Various crash survivors comb through two outrigger canoes pulled safely up on the beach.]
ILANA: No. They were already here. There used to be three, but the pilot and some woman took one. Didn't tell anyone, just ran off in the middle of the night.
LOCKE: The pilot of the plane that brought you here?
ILANA: Yes. That's right.
LOCKE: Do you have a passenger list?
ILANA: [Sighs] You'll have to talk to Caesar.
[Locke takes a big bite of the peeled mango.]
LOCKE: Mmm. [Chuckles] I think this is the best mango I've ever eaten.
ILANA: [Turning serious] Nobody remembers you being on the plane.
LOCKE: Well, I don't remember being on it either.
ILANA: What do you remember?
LOCKE: I remember a lot.
ILANA: Like why you're dressed up so nice?
LOCKE: No, but I can guess.
ILANA: [Insistently] Please. Guess.
LOCKE: I think this suit is what they were gonna bury me in.
LOCKE: You asked what I remembered. I remember dying.
[Ilana, stymied, walks off. John muses, and flashes back...]
[Flashback - The wheel chamber. The wheel creaks and clanks as unseen forces move it violently from behind, a green light pouring out of the socket.]
CHRISTIAN: Good luck, John.
[Locke gets a grip on the wheel. It cranks and clanks as he lifts it and pulls it back, and the light emanates and grows brighter, accompanied by a buzzing sound and a magnetic hum. The light envelops everything. Locke looks surprised. He turns to Christian.]
CHRISTIAN: Say hello to my son.
LOCKE: Who's your son?
[The hum crescendos into a high-pitched chirp, the light overpowers, and suddenly—]
[—Locke lies on the ground with his eyes closed, and the white light fades away. He awakes with a start to find himself alone on the desert floor. The wind howls. The pain of his broken leg returns to him and he groans. Then he gags, and turns over and spits up on the sand.]
[Locke spits some grit out of his mouth and cries as he looks at his leg. It's bad. The bone sticks out through the flesh, and through the fabric of his pants.]
[He groans and pants, and looks up to see a pole topped by a security camera, which is shielded from the elements by a single bent rusted piece of corrugated roofing steel. A series of wooden poles carry the limp cord for power and signal for the camera away into the vastness. Locke cries out.]
LOCKE: If anybody is there, can you help me?!
[He tries to turn over. It is futile to move.]
LOCKE: Aah! Aah!
[Night has fallen, and Locke remains in the same spot, alone and shivering. Suddenly, the rumble of an approaching vehicle, and a glowing pair of headlights come around the bend in the distance. Locke turns over and tries to shout and wave.]
LOCKE: Hey! No! Hey! Hey!
[Just when it looks like the truck is about to run him over, tires skid and the truck comes to a stop just in front of him. Four armed Bedouin men shout in Arabic as they pile out of the pickup. Each one grabs a limb and they lift Locke into the truck's flatbed.]
MAN #1: هذا هو [Translation: This is him]
MAN #1: يالا [Translation: Come on]
MAN #2: ارفع ارفع [Translation: Hold up, hold up]
MAN #1: يالا [Translation: Come on]
MAN #2: لا تخليه يسير [Translation: Don't let him walk]
MAN #1: ساعدني [Translation: Help me]
LOCKE: Aah! [Grunts] Aah! God! Aah!
MAN #2: امسكوه على اليمين [Translation: Hold him to the right]
MAN #1: ودوه على السيارة [Translation: Take him to the car]
MAN #2: ارميه في السيارة [Translation: Throw him in the car]
MAN #3: حاسب حاسب [Translation: Watch out, watch out]
MAN #2: قفل السيارة [Translation: Close the car]
LOCKE: Aah! Aah!
[They close the doors. The truck drives off into the night.]
[Daybreak, a small hospital of just 8 beds. Three of the turbaned men carry Locke through the door.]
MAN: هذا هو الرجل.. اللي بقولكم عليه [Translation: This is the man.. I've been telling you about!]
LOCKE: Aah! God!
[The doctor looks up from another patient and directs the men.]
LOCKE: Where is this? [Grunts] Where am I?
DOCTOR: ضحى [Translation: Doha (Arabic female name)]
LOCKE: Where am I? [Grunts] Where is this?
DOCTOR: جيبوه.. جيبوه لهون [Translation: Bring him.. bring him over here]
DOCTOR: شوي شوي.. شوي [Translation: Easy easy.. easy]
MAN: اسمع كلام الدكتور [Translation: Listen to what the doctor says]
[The men carry Locke to the last bed and plop him down.]
LOCKE: [Grunts] Aah!
[Locke screams and groans. The doctor roughly examines his head and eyes.]
LOCKE: Sir, where am I? Who are you?
[The doctor pulls some pill bottles from a cabinet. He removes some pills and pours a glass of water from a pitcher.]
LOCKE: Where am I? Do you speak English?
DOCTOR: عايشة! [Translation: Ayesha! (Arabic female name)]
[The doctor stuffs the pills into Locke's mouth and pushes the water glass toward him.]
DOCTOR: You swallow.
MAN: رجله.. رجله مكسرة [Translation: His leg.. his leg is broken!]
DOCTOR: Don't talk!
[The doctor hands off the water glass, then pushes Locke's jaw shut until Locke complies, gagging and grunting. Another shout for the nurse. Off in the distance, of the hospital, behind a sheer drape, Locke sees the tall, thin figure of a dark-skinned man—it's Matthew Abaddon.]
NURSE: عايشة، الدكتور مستعجل [Translation: Ayesha, the doctor is in hurry!]
[AYESHA says something to the nurse]
NURSE (responding to Ayesha): آه [Translation: Yea]
AYESHA: حاضر [Translation: Okay]
LOCKE: [Turning back to the doctor] Where are we?
DOCTOR: شدو، شدو.. شدوه [Translation: Hold, hold.. hold him down]
[The several men who carried Locke in hold down his arms.]
LOCKE: Oh—what? What? What? What—
[The doctor brings out a wooden bit and pushes it between Locke's teeth.]
DOCTOR: You bite. Bite!
[Locke groans. His screams are muffled. A nurse tears a sheet. The doctor drizzles an antiseptic on Locke's leg wound, eliciting more muffled screams from Locke, then pats down the wound with gauze.]
DOCTOR: عد لثلاثة [Translation: Count to three]
DOCTOR: ثلاثة [Translation: Three]
[The doctor makes ready to pull on Locke's broken leg. Locke shakes his head vigorously in protest, but he is held down. Locke's muffled shouts and screams do nothing to mask the sound of crunching bone as the doctor sets the broken leg by pushing it into place. Locke looks at the doctor, the Bedouins, the nurse, and they begin to go blurry. His screams subside, and, as he hears some final words spoken in Arabic about him, he goes unconscious.]
NURSE: شاكي من رجله [Translation: He whimpers his leg]
[Night again. A desk lamp on the end table at Locke's bedside is the only illumination for a man sitting there.]
MAN: John? John, wake up.
[Locke looks around. His leg is in a cast and elevated in a sling.]
MAN: You had a compound fracture. The doctors here did their best, but I had a specialist flown in to reset your leg properly.
[The man is revealed to be Charles Widmore. He pours Locke a glass of water.]
WIDMORE: It's nice to see you again, John.
LOCKE: Do I know you?
[Widmore hands Locke the glass and Locke drinks.]
WIDMORE: [Chuckles] Yes. I understand your being confused. Imagine how I feel. I met you when I was 17. And now all these years later, here we are. You look exactly the same.
LOCKE: [Sighs] Who are you?
[Sets down glass.]
WIDMORE: My name is Charles Widmore.
[Locke's eyes widen.]
WIDMORE: Tell me, John. How long has it been for you since... we first met, since you walked into our camp and you spoke to Richard?
LOCKE: Four days.
WIDMORE: [Chuckles] That's incredible.
LOCKE: The camera in the desert—that was yours?
LOCKE: How did you know I'd be there?
WIDMORE: Well, that's the exit. I was afraid Benjamin might fool you into leaving the Island, as he did with me. I was their leader.
LOCKE: The Others?
WIDMORE: They're not the "Others" to me. They're my people. We protected the Island peacefully for more than three decades. But then I was exiled... by him... just as you were.
LOCKE: No. Ben wasn't even there when I left. He was already gone. I—I... I wasn't exiled. I... chose to leave.
WIDMORE: Why... would you do that, John? [Pause] You've come to bring them back... the ones who left.
LOCKE: [Sighs] No.
WIDMORE: I understand you lying to me. I do. But there's something you should know. All your friends who left the Island? They've been back three years.
LOCKE: Three years?
WIDMORE: They've gone back to their normal lives.
[Widmore produces a newspaper and hands it to Locke.]
WIDMORE: And none of them has spoken a word of truth about where they were.
[Locke looks at the newspaper, the London Daily Tribune from January 14, 2005. Its headline: "OCEANIC SIX: SURVIVORS RECEIVE HEROES WELCOME". Locke puts the paper down.]
LOCKE: I have to bring them back.
WIDMORE: And I'm gonna do everything in my power to help you do that.
[Widmore gets up to leave.]
[Widmore stops and turns round.]
LOCKE: Why would you help me?
WIDMORE: [Leaning in] Because there's a war coming, John. And if you're not back on the Island when that happens, the wrong side is going to win.
[Children shouting. Locke and Widmore are sitting outside.]
LOCKE: "Jeremy Bentham"?
WIDMORE: He was a British philosopher. Your parents had a sense of humor when they named you, so why can't I? This should be money enough for now. The phone's international. If you need to reach me, for anything, just press 2-3. The folder contains your people's whereabouts, everyone that was on the Island that left.
LOCKE: You've been watching them?
WIDMORE: I'm deeply invested in the future of the Island, John. So, yes, I've been watching them. I wouldn't mention I'm involved in this. I can't imagine what they think of me, having listened to Benjamin's lies.
LOCKE: How do I know that you're not the one who's lying?
WIDMORE: I haven't tried to kill you. Would you say the same for him?
[Rooster crows, goat bleats in distance.]
WIDMORE: [Chuckles] You still don't trust me.
LOCKE: You sent a team of killers and a boatload of C-4 to the Island. That... doesn't exactly scream "trust."
WIDMORE: I needed Linus removed... so it could be your time.
WIDMORE: The Island needs you, John. It has for a long time.
LOCKE: What makes you think I'm so special?
WIDMORE: Because you are.
[A car approaches and stops. Brakes squeal.]
WIDMORE: Ah. Your chariot has arrived.
LOCKE: He said I would die.
WIDMORE: I beg your pardon?
LOCKE: Richard Alpert. He said the only way to get them to come back was if I died.
WIDMORE: I don't know why he said that, but I'm not gonna let that happen. This is Matthew Abaddon. He'll take you anywhere you need to go, protect you from whomever intends to do you harm.
ABADDON: Mr. Locke.
[Zips portfolio. Grunts.]
WIDMORE: Good luck, John, and godspeed.
[Locke looks and notices Abaddon unfolding a wheelchair.]
[Locke and Abaddon are in the car.]
ABADDON: Anything you need, Mr. Locke, you just let me know. Anything. Anybody from your past you want me to look up for you? The whole world thinks you're dead, Mr. Locke. There must be somebody who'd be happy to see you.
LOCKE: Please don't talk to me.
ABADDON: You got it.
[Abaddon stops the car to let goats cross the road. Men speaking in foreign language.]
ABADDON: But we're almost at the airport, so you're gonna at least have to tell me where we're going first.
LOCKE: Santo Domingo.
[Title: Santo Domingo, Dominican Republic]
[At a work site where people are building houses, men shout in Spanish.]
[Sayid is on a rooftop, hammering one of the beams. A man brings a piece of roof to him. Men shouting in Spanish]
SAYID: Espera. Necesito terminar este techo. Paseme otra viga. [Translation: Wait. I need to finish this roof. Pass me another beam.]
MAN: Hey, Sayid! Mira! Tienes un visitante. [Translation: Look! You have a visitor.]
[Sayid looks to see Locke in his wheelchair.]
[Moments later, Sayid meets with Locke at a nearby table.]
SAYID: I don't believe this. You actually want me to go back?
LOCKE: I—I know how it sounds, Sayid, but you have to trust me. This is the only way to save them.
SAYID: I'm not going back. For two years, I was manipulated into thinking I was protecting everyone on the Island.
LOCKE: Who was manipulating you?
SAYID: Ben. So who is manipulating you, John?
LOCKE: This is coming from me, nobody else. I know you, Sayid. And deep down in your heart, you know we never should've left the Island.
SAYID: It's only because I left the Island that I was finally able to marry the woman I loved. We spent nine months together—the best nine months of my life, John. That's what I know in my heart.
[Men shouting in Spanish.]
LOCKE: Where is she now?
SAYID: She was murdered.
LOCKE: Uh... I'm sorry.
SAYID: Why do you really need to go back? Is it just because you have nowhere else to go?
LOCKE: If you change your mind, I'll be staying under the name "Jeremy Bentham" in L.A. at the Westerfield Hotel.
[Sayid stands up.]
SAYID: And if you change your mind, you're welcome to come back here and do some real good. Good-bye, John.
[Title: New York, NY]
[Locke and Abaddon are in the car, parked on a busy New York street.]
LOCKE: You asked if there was someone you could look up for me.
ABADDON: Yes, I did.
LOCKE: Her name is Helen—Helen Norwood—and she was living in Los Angeles.
ABADDON: She an old girlfriend of yours?
[School bell rings. A group of children leave the school, Walt is among them.]
LOCKE: Help me get out of the car.
[Now on the sidewalk.]
ABADDON: So that's Michael Dawson's son, huh?
ABADDON: Boy's gotten big.
[Walt notices Locke on the other side of the street. Locke waves out to him.]
WALT: Um, I'm—I'm-a be right back. I'm-a go.
BOY: All right.
WALT: I'm-a be right back.
BOY: All right.
ABADDON: I'll give you two some privacy.
[Abaddon leaves. Walt crosses the street to meet Locke. They shake hands.]
WALT: Hey, John.
LOCKE: Hi, Walt.
WALT: What happened?
LOCKE: I hurt my leg. You don't seem surprised to see me.
WALT: I've been having dreams about you. You were on the Island, wearing a suit, and there are people all around you. They wanted to hurt you, John.
LOCKE: Good thing they're just dreams.
WALT: Is my dad... is he back on the Island? I haven't talked to him in three years. I figured he must've gone back.
LOCKE: Um, last I heard, your dad was on a freighter near the Island.
WALT: So why'd you come to see me?
LOCKE: I just wanted to make sure you were okay.
WALT: Yeah. I'm doing pretty good. Well, I gotta go. It was good seeing you, John.
LOCKE: Yeah. Take care.
[Walt walks off. Abaddon returns.]
ABADDON: I take it you didn't invite him along.
LOCKE: Boy's been through enough.
ABADDON: That's 0-for-2, Mr. Locke. Maybe I misunderstood, but I thought you had to bring everyone back.
LOCKE: I only need to convince one. And if I can do that, the rest will come. [Getting into the car] And maybe I was mistaken, but I thought you were my driver.
[On the other side of the street, Ben watches from afar.]
[Title: Santa Rosa, CA]
[Birds chirping. At Santa Rosa Mental Health Institute, Hurley is sitting on the lawn at a table, painting a picture of a Sphinx.]
LOCKE: Hello, Hugo.
HURLEY: So you didn't make it, huh?
LOCKE: Pardon me?
HURLEY: You didn't make it. It's cool. No biggie. You're not the first person to visit me, you know. But what's up with the wheelchair?
LOCKE: Uh, I broke my leg falling down a hole.
HURLEY: Oh. Is that how you died?
LOCKE: Hugo, I'm not dead.
HURLEY: Sure you're not.
LOCKE: No, I—I promise you, I'm very much alive.
HURLEY: [Calling to a nearby nurse] Hey, Susie, am I talking to a dude in a wheelchair right now?
[Hurley jumps up from his seat and backs away.]
HURLEY: Whoa, dude. What are you doing here?
LOCKE: I need you to come back to the Island with me.
HURLEY: Wait. What?
LOCKE: And not just you, but everybody who left.
HURLEY: You mean Jack and Kate—
HURLEY: I'm sorry, dude. I don't think that's gonna happen. Jack's a doctor now, and—and Sun's, like, got her baby, and Kate's got Aaron.
HURLEY: Dude, be cool. Don't look, but we're being watched.
[Locke looks to see Matthew Abaddon waiting by the car.]
HURLEY: [Whispers] Dude!
LOCKE: Oh, don't worry. He's with me.
LOCKE: He's just driving me around. He's okay.
HURLEY: That dude is far from okay. When I first got locked up in here, he showed up, claiming that he worked for Oceanic Air. He's evil! You should not be trusting that guy.
LOCKE: Please, just listen to me.
HURLEY: No, no, no! I'm not listening to you!
LOCKE: Hugo, please, listen.
HURLEY: [Plugging his ears, singing] La, la, la, la, la. I wanna go back in. I wanna go back in.
HURLEY: No, I'm not going anywhere with you! Go away! Bye! Get out of here!
MALE NURSE: You're safe.
[Hurley is escorted away by two orderlies.]
[Back in the car, Abaddon gets in.]
ABADDON: That's three visits now.
[Seat belt clicks.]
ABADDON: You may wanna step up your game, Mr. Locke, or we're all in serious trouble.
LOCKE: What exactly is it that you do for Mr. Widmore, Matthew?
[Abaddon turns off the engine.]
ABADDON: You're ready to talk about it now, huh? John... you're not really gonna pretend you don't remember that I was an orderly in the hospital right after your accident? That I was the one who told you to go on your walkabout? The same walkabout that put you on the plane that crashed on that Island?
LOCKE: No. I remember.
ABADDON: I help people get to where they need to get to, John. That's what I do for Mr. Widmore.
[Title: Los Angeles, CA]
[Locke is inside Kate's house.]
KATE: The answer is no.
LOCKE: Kate, I don't think you understand—
KATE: No, you made yourself perfectly clear. Everyone on the Island is gonna die if I don't go back. And the answer is no.
LOCKE: Why? Don't you care about them?
KATE: Have you ever been in love, John?
KATE: I think about you sometimes. I think about how desperate you were to stay on that Island. And then I realized... it was all because you didn't love anybody.
LOCKE: That's not true. I loved someone... once. Her name was Helen.
KATE: What happened?
LOCKE: Well... it—it... it just didn't work out.
KATE: Why not, John?
LOCKE: I was angry. I was... ob-obsessed.
KATE: And look how far you've come.
[Locke is exiting Kate's house. Abaddon gets out of the car.]
ABADDON: Let me help you, Mr. Locke.
LOCKE: [Sighs] Did you find her?
ABADDON: Find who?
LOCKE: Helen Norwood—the woman I asked you about.
ABADDON: No, I didn't. I'm sorry. [Sighs] Three years is a long time. It's possible she got married, changed her name. Maybe she moved out of state.
LOCKE: You found everyone else! All of them. Sayid was in the middle of nowhere, but you can't find Helen because she moved? Your job is to get people to where they need to get to? Well, I need to get to her.
[Title: Santa Monica, CA]
[Thunder rumbles. Locke and Abaddon are in front of a grave stone.]
LOCKE: What happened to her?
ABADDON: She died of a brain aneurysm. I'm very sorry, Mr. Locke.
[The grave stone reads "In memory of/ HELEN NORWOOD/ June 30, 1957 - April 08, 2006.]
LOCKE: She loved me. If I had just... [sighs] we could've been together.
ABADDON: Maybe you could have. That wouldn't change anything. She'd still be gone.
LOCKE: Would she?
ABADDON: Helen is where she's supposed to be. As sad as it is, her path led here. And your path, no matter what you did or what you do, your path leads back to the Island.
LOCKE: You say that like it's all det—inevitable.
ABADDON: Mr. Widmore told me Richard Alpert said that you were going to die. So you tell me, John. Is that inevitable, or is it a choice?
LOCKE: What, you think I wanna die? How is that... how could you possibly think that's a choice?
ABADDON: Hey... I'm just your driver.
[Moments later, Locke is back in the car. Abaddon is putting the wheelchair into the boot. He closes the boot, when suddenly the window is splattered with blood. Abaddon stumbles and turns. A gunshot breaks the window as Locke turns around.]
[Locke climbs into the drivers seat as Abaddon is hit with another gunshot.]
LOCKE: Uhh! Aah! Aah!
[Abaddon falls onto the car. Locke starts the engine and drives away. Abaddon's body drops to the floor with a thud. Locke drives wildly out into the road, narrowly missing a car. He continues to speed down the street until he comes to red lights at an intersection and drives through them into on-coming traffic. A car smashes into the side of his, sending him spinning. As he comes to a stop, another car smashes into his car. Locke lays in the car unconcious, badly injured.]
[Locke awakes to find himself in a hospital bed.]
[He looks around to see Jack sat at his bed side.]
JACK: What are you doing here?
LOCKE: Jack, how did you find me?
JACK: You were in a car accident and you were brought into my hospital. What are you doing here?
LOCKE: [Grunts] We have to go back.
JACK: [Laughing] Of course. Of course we do.
LOCKE: Jack, the people I left behind need our help. We're supposed to go back—
JACK: —because it's our destiny? How many times are you gonna say that to me, John?
LOCKE: How can you not see it? Of all the hospitals they could've brought me to, I end up here. You don't think that's fate?
JACK: Your car accident was on the west side of Los Angeles. You being brought into my hospital isn't fate, John. It's probability.
LOCKE: You don't understand. It wasn't an accident. Someone is trying to kill me.
JACK: Why? Why would someone try to kill you?
LOCKE: Because they don't want me to succeed. They wanna stop me. They don't want me to get back because I'm important.
JACK: Have you ever stopped to think that these delusions that you're special aren't real? That maybe there's nothing important about you at all? Maybe you are just a lonely old man that crashed on an Island. That's it. [standing] Good-bye, John.
[Jack goes to leave.]
LOCKE: Your father says hello.
[Jack turns around.]
LOCKE: A man—the man who told me to move the Island—the man who told me how to bring you all back—he said to tell his son hello. It couldn't have been Sayid's father, and it wasn't Hurley's, so that leaves you. He said his name was Christian.
JACK: My... my father is dead.
LOCKE: Well, he didn't look dead to me.
JACK: [Voice breaking] He died in Australia three years ago. I put him in the coffin! He's dead.
LOCKE: Jack, please, you have to come back! You're the only one who can convince the rest of 'em! You have to help me! You're supposed to help me!
JACK: John, it's over! It's done. We left, and we were never important. So you... you leave me alone. And you leave the rest of 'em alone!
[Jack leaves. Door closes.]
[At his hotel, Locke writes on a piece of paper. "Jack/ I wish you had believed me./ JL" He puts it into an envelope marked "Jack Shephard", folds it and puts it in his pocket. Then he throws the cell phone Widmore gave him into the bin. He stands with his crutches, puts a bag on the table and pulls it across the room a little. He gets a cable out of the bag and ties one end of it to a radiator. Then, standing on the table, Locke removes the remaining pieces of a broken roof tile and puts the other end of the cable over a beam. After cutting the cable and tying it in a noose, John puts it over his head and prepares to jump from the table. A knock at the door stops him. Another knock on the door.]
MAN: John? John?
[The man bursts through the door. It's Benjamin Linus.]
BEN: John, what are you doing?
BEN: Wait, please. John, stop!
LOCKE: H—how did you find me?
BEN: I have a man watching Sayid. I'm watching all of them, keeping them safe. When you turned up, he called me.
LOCKE: Who... who...W—w—what are you doing here?
BEN: John, just calm down.
LOCKE: What do you want from me?!
BEN: Please, let me help—
LOCKE: Answer the question!
BEN: I'm trying to protect you.
LOCKE: Protect me? You shot him. You killed Abaddon.
BEN: Yes. Yes, I did. But it was only a matter of time before he tried to kill you. I was just trying to get to you, but you drove off and crashed.
LOCKE: Why? Why would—
BEN: He was working for Charles Widmore. He's extremely dangerous.
LOCKE: No! Widmore came to me. He saved me.
BEN: No, John, he used you. He waited till you showed up so that you could help him get to the Island. Charles Widmore is the reason I moved the Island! So that he could never find it again, to keep him away so that you could lead. [stepping closer] You can't do this. If anything happens to you... John, you have no idea how important you are. Let me help you.
LOCKE: [Inhales sharply] There is no helping me. [Sniffles] I'm... [Sniffles] I'm a failure.
BEN: No, John, you're not.
LOCKE: I am! I couldn't get any of them. I couldn't get a single one of them to come back with me. I can't lead anyone.
BEN: Jack booked a ticket.
BEN: A plane ticket from Los Angeles to Sydney, tonight. Return trip first thing in the morning. Whatever you said to him, John—it worked. And if you got Jack, you can get the rest of them.
BEN: John... you can't die. You've got too much work to do. We've gotta get you back to that Island so that you can do it.
[Ben unties the cable.]
BEN: Please, John. Come on.
BEN: Come down.
[Locke climbs down and begins to cry.]
BEN: I know we can do this, John.
BEN: You haven't even been to Sun yet. Let's start with her.
LOCKE: No. I... [Sniffles] I promised Jin that I wouldn't bring her back.
BEN: Jin is alive?
LOCKE: Yeah. Yeah. But he didn't want her to know. He—he wanted me to tell her that his... [breathes deeply] that his body washed up on the beach. And, uh, he gave me his wedding ring to prove it.
BEN: All right.
BEN: A promise is a promise.
[Locke removes the noose from his neck.]
LOCKE: Thank you. [Cries]
BEN: You're welcome. Come on.
BEN: [Whispers] Let's go. [Normal voice] I know we can do this.
BEN: Once we can get them all in the same place... I don't know where we go from there, but we'll figure something out.
[Ben starts to gather up the cable.]
LOCKE: I know where we go. There's a woman here in Los Angeles.
BEN: A woman?
LOCKE: Yeah, I don't know exactly where, but she shouldn't be that hard to find. Her name is—is, uh... Eloise Hawking.
BEN: Eloise Hawking? You sure?
LOCKE: Yeah, yeah. Yeah, why? Do you know her?
BEN: Yes, John. I know her.
[Suddenly, Ben wraps the cable around Locke's neck.]
[He pulls it tight and Locke falls out of his wheelchair. Locke struggles but Ben is too strong. Ben squeezes until Locke goes limp and breathes his last breath. He is dead.]
[A shadow of a hanging body projects on the wall. Ben finishes wiping down the apartment with cleaning fluid, scrubbing away any evidence of the crime he has committed. He picks up Jin's wedding ring from the table and puts it in his pocket. He leaves through the door, and as he does, he turns around and looks at Locke one last time.]
BEN: I'll miss you, John. I really will.
[The camera pans to Locke's body hanging from the ceiling.]
[On-Island - Locke walks through the door of an office and sees Caesar reading files at a desk. Door creaks.]
LOCKE: That symbol—it belongs to an organization called the DHARMA Initiative. They were conducting some experiments here a while back.
CAESAR: How do you know that?
LOCKE: I spent more than a hundred days on this Island. I know a lot.
CAESAR: A hundred days? So when we crashed, you were already here.
LOCKE: No. No, I, uh... I left.
CAESAR: How long ago did you leave?
LOCKE: [Sighs] The timing would just confuse ya.
CAESAR: Well... how did you get back?
LOCKE: To be honest, that part's a bit of a mystery to me.
CAESAR: Okay, John Locke... I have a mystery, too. Maybe you can help me with it.
LOCKE: I'm happy to try.
CAESAR: On the plane, I was sitting across the aisle from that really big guy with curly hair. When the plane started shaking—really shaking—there was a big noise and a bright light. And this really big guy with curly hair... was gone, man. I mean, literally gone. And it wasn't only him. Some of us saw it happen to other people, too. So, Mr. John Locke, do you have an idea about what happened?
LOCKE: I think... I might know how I came to be here. But that would involve me finding my friends. Do you have a—a—a passenger list?
CAESAR: No. The pilot took it when he ran off.
LOCKE: And everyone's accounted for—all the people? O—other than the—the ones who disappeared.
CAESAR: Yeah, yeah, except for the people who got hurt.
LOCKE: "The people who got hurt"?
[In another room, Locke looks over the wounded, who lay silent on cots. He stops and regards one unconscious man.]
CAESAR: You know him?
[The one he's looking at is Ben.]
LOCKE: He's the man who killed me.