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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.
Episode 20 - "Two for the Road"
Directed by: Paul Edwards
[We see Kate and Jack at Michael's side in the jungle.]
KATE: Michael, Michael. What's wrong with him? Michael. Michael? [Jack starts walking in the direction Michael came from] Jack, where are you going?
JACK: Maybe they just let him go?
KATE: Let him go? He's alone. They didn't just push him out into the jungle, Jack! He's alone!
JACK: Okay, let's go.
[Jack lifts Michael over his shoulder and starts carrying him back to camp.]
[We see Ana slicing up some fruit in the Hatch. She looks over at Locke, who's snoring in the bed.]
[Flashback - We see a police car parking lot. Ana and her partner pull in.]
PARTNER: [exiting] See ya, Ana Lucia.
[Ana's mother, Captain Cortez, enters.]
CAPTAIN: You look tired.
ANA: Yeah, thanks. What?
CAPTAIN: Where were you last night?
CAPTAIN: All night?
ANA: Yeah, cooked myself some dinner, watched some TV.
CAPTAIN: What'd you watch? [Ana just looks at her] Let's go for a drive.
[We see Ana and Captain Cortez at the morgue looking at the body of the guy Ana shot in "Collision".]
CAPTAIN: Remember Jason McCormack? Found him in a parking lot just after three in the morning. He was dead an hour before anyone saw him. Crime scene pulled a gun from the dumpster -- registration was filed off, no prints, no witnesses. He was executed.
ANA: Any idea who did it?
CAPTAIN: Yeah, Ana, you did. This man confesses to shooting you in cold blood, and you refuse to ID him, so we had to cut him loose. A week later he shows up with five bullets in his chest because you shot him in cold blood.
ANA: Guess I should get a lawyer.
CAPTAIN: Look, we both know that this is going to be a dead-end investigation. But, Ana, if you did this -- if you did this -- you have to let me help you.
ANA: Yeah, thanks, mom; but I don't need your help.
CAPTAIN: You don't want my help; you're going to have to get it from somewhere else. You're a police officer, Ana. If you don't respect me, at least respect that.
ANA: [handing over her badge] Then I quit.
[On-Island - We see Ana enter the armory.]
ANA: Hey, Henry, what do you say? How long are you going to keep up this hunger strike, Henry? I ever tell you I was a cop? I've been around a lot of killers in my life. You know what surprises me most about them? How much they love to talk. But you're different, Henry. Hmm? Quiet.
GALE: [whispers something inaudible (possibly: You insult.)]
ANA: What was that?
GALE: [repeats the whisper twice.]
ANA: [getting in Gale's face] If you're going to say something; you're going to have to speak up.
[Gale suddenly stands and knocks Ana back. He grabs her and starts strangling her.]
GALE: You killed two of us -- good people who were leaving you alone. You're the killer, Ana Lucia.
[Gale and Ana struggle, but he pins her. Just as it looks like she's done for, Locke hits Gale in the back of the head with his crutch.]
LOCKE: I guess he decided to start talking, huh?
[Flashback - We see Ana working at a security check-point at an airport. Next we see her at the airport bar.]
ANA: Hey, Mike, tequila-tonic.
CHRISTIAN: Long day, huh? [Ana doesn't respond] Good to see you again. You, uh, wanded me at security. [to the bartender] Another one, please. [to Ana] So, how does one get into wanding?
ANA: One stops being a cop.
CHRISTIAN: What a coincidence, I just stopped being a doctor.
ANA: Why'd you quit?
CHRISTIAN: I didn't. My son ratted me out for drinking on the job. [to bartender] Thank you. [to Ana] Lost my license. [Ana chuckles] Yeah, I know, it's hilarious.
ANA: No, no, it's just that I don't think parents and their kids should work together -- too many issues.
CHRISTIAN: I'll drink to that.
ANA: So, where you headed?
CHRISTIAN: Sydney. Sydney, Australia. You want to come? I'm serious.
ANA: Why would I go to Sydney with you?
CHRISTIAN: Maybe fate has just thrown the two of us together, you know. Two drinks in an airport bar --
ANA: Why would fate do that?
CHRISTIAN: Same reason fate does anything -- so that we can help each other out. You do need help, right? Unless you don't. What I'm doing down there could be a little dangerous and I need someone to protect me -- a bodyguard. It's perfect for someone who stopped being a cop.
ANA: I don't even know your name.
CHRISTIAN: Oh, let's not use real names. I'll tell you what -- why don't you pick a name for me and then I'll pick one for you.
ANA: You look like a Tom.
CHRISTIAN: Tom, what an excellent name. And you should be a -- Sarah. Australia.
[On-Island - Ana is tending to a wound on her forehead. Libby enters.]
LIBBY: What happened?
ANA: I cut myself shaving. [Libby doesn't respond] The guy in the hatch tried to kill me.
LIBBY: You okay?
ANA: I'm fine; but he won't be.
LIBBY: Hey, Ana?
LIBBY: Don't do anything stupid.
[We see Locke examining a blast door area in the ceiling of the Hatch. Then we see him unlock the armory door.]
GALE: If you've come to apologize, I forgive for hitting me with your crutch. I'm so glad my head didn't break it.
GALE: Now that's a broad question.
LOCKE: Why'd you try to hurt Ana Lucia, but not me?
GALE: I'm not sure I know what you're getting at, John.
LOCKE: I was trapped under that blast door, helpless. You could've crushed my skull, but you didn't do a thing. Why didn't you?
GALE: Because you're one of the good ones, John.
LOCKE: What? Good what?
GALE: None of this matters. I'm dead anyway. The doctor's gone to make a trade and we both know he'll come back empty-handed and then I've lost my value. So either Jack comes back here and kills me or my people find out where I'm being held and they do it.
LOCKE: Why would your own people want to kill you?
GALE: Because the man in charge -- he's a great man, John, a brilliant man -- but he's not a forgiving man. He'll kill me because I failed, John. I failed my mission.
LOCKE: What mission?
GALE: When that woman caught me in her trap I was on my way here, John. I was coming for you.
KATE: [in the background] Locke!
JACK: Locke, get out here! Locke! Locke!
[Locke leaves and locks Henry in the armory.]
[We see Sawyer using a pole to get mangoes from a tree. Ana enters and picks some up.]
SAWYER: Hey, I've been knocking those things down for 20 minutes. Get your hands off of my damn mangoes.
ANA: I didn't figure you for the fruit picking type.
SAWYER: What do you want?
ANA: I need a gun.
SAWYER: Well, here's an idea -- why not go to your buddy, Jack? He's got himself a gun. Oh, that's right, he's still traipsing around the jungle with Kate.
ANA: If you've got a problem because he's making time with your girlfriend, don't take it out on me, man. How about you just give me a gun?
SAWYER: Here's another idea -- scram. You heard me, now get.
[Ana turns and leaves.]
[Flashback - We see Ana get out of a hotel room bed in Sydney. She grabs a drink and there's a knock on the door.]
CHRISTIAN: Sarah. Sarah, open the damn door. [she opens the door] Good, you're up. It's time -- protection duty. Come on, let's go.
ANA: After four days of drinking and doing nothing -- now, in the middle of the night, you're ready to go?
CHRISTIAN: That's exactly right. It's time, come on. Fate's calling, Sarah.
[We see Ana and Christian driving in the rain, then pull up in front of a house.]
CHRISTIAN: This is it, pull over right here.
ANA: This is what you needed protection for -- the suburbs?
CHRISTIAN: Stay in the car.
ANA: Should I keep the meter running?
[Christian knocks on the door as Ana waits in the car watching.]
CHRISTIAN: [faintly, under a Patsy Cline song] I just want to see my daughter. [then yelling] She's my daughter and I have every right to see her!
LINDSEY: No, you don't have a right! Now get out!
[She tries to close the door, but Christian tries to bust his way in. Ana runs over.]
CHRISTIAN: I pay the mortgage on this house... I want to see my daughter!
[Ana pulls Christian back.]
ANA: What the hell is wrong with you?
LINDSEY: Don't you ever come back here!
[Ana pulls Christian to the car.]
CHRISTIAN: I was just having a conversation with the lady.
LINDSEY: You need help!
[On-Island - Hurley approaches Sayid who's digging near the tents.]
HURLEY: Dude, nice hole.
SAYID: What is it, Hurley?
HURLEY: Hey, man, remember that radio we made? I'm thinking maybe I could get it to play some music. You know, for Libby.
SAYID: Well, it worked only once and then just for a minute. I've tried several times since and only gotten static.
HURLEY: Here's the thing -- even that would be good -- because then Libby would be like, "it's the thought that counts" -- and I'll score major points. Especially when she sees me holding it over my head.
SAYID: And why would you hold a static generating radio over your head?
HURLEY: They didn't have "Say Anything" in Baghdad? It's awesome. This dude, like, gets his boom box and he holds it over his head outside this chick's window and he plays some Peter Gabriel song for her and bam, the girl's, like, his. I mean, after her dad goes to jail. But then he gets her.
SAYID: I think I get the idea.
HURLEY: You should really check it out sometime. I mean, if we ever, you know, get off this island.
SAYID: If you want to do something nice for Libby, there's a beautiful beach three kilometers from here. You could take her there.
HURLEY: You think she'd like that?
SAYID: I took Shannon there once.
[We see Jack examining a still unconscious Michael.]
JACK: Michael. Michael.
LOCKE: [entering] So, it worked?
JACK: What are you talking about, John?
LOCKE: Your deal -- the trade. If they gave us Michael...
JACK: They didn't give us anything.
LOCKE: So, it was just a coincidence that he came wandering out?
JACK: I was shouting; he heard my voice. What, they just let Michael go hoping we would keep up our end of the bargain? You think they're on the honor system?
KATE: [entering] Hey.
[We see Sawyer walking through the jungle. He hears rustling and stops.]
SAWYER: Come out, come out whoever you are. I know you're there. [he draws his gun] Don't make me come in after you. [Ana clears her throat] Well, well, well, what have we got here? Was little red riding hood going to follow the big bad wolf back to his big old stash-o-guns?
ANA: Why don't you give me that one, right there?
SAWYER: I ain't going to gimme you nothing. [she approaches threateningly] We've been through this, Lucy.
[She takes a swing and he deflects her, laughing. She takes him down and he gets on top of her.]
SAWYER: What you gonna do now, Muchacha?
[Ana kisses him and they start pulling off each other's clothes. The camera pulls to a shot of the gun with Sawyer's discarded shirt.]
[Flashback - Morning, we see Ana and Christian in the car near a wharf.]
CHRISTIAN: [reaching for the radio] We need some damn music in here.
ANA: Who is she?
CHRISTIAN: Who is who?
ANA: That woman.
CHRISTIAN: She is a very long story, Sarah.
ANA: It's Ana Lucia.
CHRISTIAN: Well, I'm still Tom.
ANA: You're pathetic, that's what you are.
CHRISTIAN: You bet your sweet ass I am.
ANA: [stopping the car] Why are you here?
CHRISTIAN: I'm here because I can't apologize to my son. He tried to help me, so I thanked him by cutting him off. I thanked him by hating him. You came here for the same reason I did, kiddo. You ran away. [Christian notices a bar in the background] My, my, look what fate has delivered up this time. Come on, let's go have a drink or ten and be pathetic together. What do you say?
ANA: No. No.
CHRISTIAN: It's your call. [he opens his car door and hits Sawyer]
SAWYER: Hey, I'm walking here!
ANA: Wait, don't. Let's just get the hell out of Sydney. Let's just go. Let's go back.
CHRISTIAN: I can't ever go back. See ya, kiddo.
[On-Island - We see Ana putting her shirt on as Sawyer watches.]
SAWYER: Don't you want my phone number?
ANA: You tell anyone about this and I'll kill you. [she exits]
SAWYER: I guess that takes cuddling off the table.
[We see Hurley putting food from the beach pantry into his pack.]
LIBBY: [appearing] Hey there. How's it going?
HURLEY: This isn't what it looks like.
LIBBY: And, what does it look like?
HURLEY: It looks like something that... it's not. Aw, man. I'm so busted.
LIBBY: Hurley, I'm not here to tell you how to act around food.
HURLEY: Naw, I'm not busted for that. I'm busted for something else. I was packing a picnic because I was kind of hoping that you'd want to go with me. You know, as an 'us' thing. But, it was a surprise.
LIBBY: Really? That's very sweet.
HURLEY: So, you want to go?
LIBBY: Where to?
HURLEY: Can that part still be a surprise?
[In the hatch, we see Jack cleaning some scissors. Locke is reading in the background. Ana enters.]
ANA: Hey, you're back.
ANA: So, the Others -- they didn't show up?
JACK: No. Michael's back, though. [noticing the cut on Ana's forehead] What happened here?
LOCKE: My fault. I left the tap on in the bathroom sink and Ana wiped out and hit her head on the bathroom counter. And I'm sorry, again.
ANA: Yeah, don't worry about it.
KATE: [off camera at first] Jack? Jack. I think he's waking up.
JACK: Hey, Michael.
JACK: Hey, man.
MICHAEL: Wait a minute... how did I get...?
JACK: Wait, try to take it easy, okay. You're back in the hatch. We found you out in the jungle last night.
MICHAEL: Oh, my head.
LOCKE: Welcome back.
MICHAEL: Hey, John. I found them. After I left I hiked North back to where we were [he looks at Ana]. I hiked to the beach -- followed the shore line. A day later I saw one.
LOCKE: What did he look like?
MICHAEL: He was dirty, worn clothing, no shoes, simple. Just like the rest of them.
JACK: Like the rest of them?
MICHAEL: Yeah, his people -- the Others. I followed him back to his camp. They live in tents -- canvas tents and teepees. They eat dried fish. They're worse off than we are.
KATE: How many of them were there?
MICHAEL: I counted 22.
JACK: And, the boat?
MICHAEL: I didn't see it.
JACK: Did you see Walt?
MICHAEL: No. But I know he's there.
ANA: What about everyone else they took? Cindy -- did you see any other kids?
MICHAEL: No, no, no kids, no. But I think they were in the same place as my boy. They have a hatch.
JACK: How do you know that they...
MICHAEL: There's a set of metal doors leading underground. What else could it be?
JACK: And you think that's where they're keeping the kids?
MICHAEL: They keep it guarded 24/7. Two guards, two guns. And two guns is all I saw. They're barely armed. Most of them are old and half of them are women. I wanted -- I couldn't save him. So I came back to tell you -- tell you that we can take them. As soon as I get my strength back, I will take us back there. And we are going to get my boy back.
[We see Locke writing in the computer room. Jack enters.]
JACK: You were right.
LOCKE: Right about what?
JACK: About Henry -- what you and Sayid did to him when you first found him. You were right. I don't like how you did it, but I shouldn't have gotten in your way.
LOCKE: Well, you did what you thought was right at the time you thought it, Jack. I just hope that next time you decide to do something you include me. And something tells me that's going to be soon.
JACK: You heard Michael. We can take them.
LOCKE: Our friend with the beard told us not to cross the line.
JACK: These people are liars, John. Why should we take their word on anything?
LOCKE: I couldn't agree more. So, now what?
[Jack and Locke enter the living area and start getting a pack together.]
KATE: Where are you going?
LOCKE: To get our guns back from Sawyer.
JACK: We're going to need you to help convince him.
KATE: Who's going to take care of Michael?
ANA: I'll stay. You guys go ahead.
JACK: You sure?
ANA: Give Sawyer my best.
JACK: Alright, we'll be back soon.
[We see Hurley and Libby walking through the jungle.]
HURLEY: Watch your head. Almost there.
LIBBY: You ever watch the Flintstones?
HURLEY: Sure, I used to watch it all the time when I was in the hospital -- when I broke my hip.
LIBBY: Well, did you ever notice how Fred would run by the same thing over and over again? [she stops and points] Third time past this tree.
HURLEY: Uh, that's a different tree.
LIBBY: Hurley, it's okay if you're lost.
HURLEY: Dude, I'm not lost. Will you trust me? [Hurley starts walking again] We're right about to walk on the most excellent secret beach on the Island, and -- surprise!
LIBBY: Uh, Hurley, this is our beach. There's Jin. Hey, I'll tell you what -- why not have the picnic here? Come on, give me the blankets.
LIBBY: You don't have any blankets? How about drinks? [Hurley doesn't respond] Okay, I'll tell you what, I will handle the blankets. You just track down Rose and Bernard. I saw them pull wine from the pallet, okay?
HURLEY: Oh, wine. Groovy. Hey, maybe if I get drunk enough I'll remember where I know you from.
LIBBY: Yeah, okay. [she exits]
[Jin gives Hurley a thumbs up.]
[We see Sawyer reading the Bad Twin manuscript. Jack, Locke and Kate enter.]
JACK: Sawyer, put the book down.
SAWYER: It's not a book, it's a manuscript. I'm about to be the first and only guy to find out who done it. I think I've got it figured out. Cool your damn jets and walk around the coconut trees; I've got, like, ten pages left.
[Jack grabs the manuscript and drops the last ten pages into the fire near Sawyer.]
JACK: You want to figure it out?
[Sawyer pulls the manuscript out of the fire.]
SAWYER: What is your problem, Doc?!
JACK: It's time to give us the guns back.
SAWYER: You burn the ending of my book and now you want...
LOCKE: Where are they, James?
SAWYER: You too, Brutus?
KATE: Just take us there, Sawyer, alright? Quit playing around.
SAWYER: [to Jack] What, did you bring her along for a sympathy vote? She ain't in my head, Doc. [to Kate] Why don't you two just go play in the jungle, huh?
JACK: [drawing his gun] Take us to the guns, now.
[Sawyer reaches behind to draw his gun and realizes it's not there.]
SAWYER: Ah, that bitch. She stole my damn gun -- Ana Lucia.
JACK: Why would she need a gun?
SAWYER: Son of a bitch.
[We see Ana in the hatch pulling the gun out of her boot.]
LOCKE: Jack, I need to tell you something.
[We see Ana open the armory door. She slides the Swiss army knife to Gale.]
ANA: Pick it up. Cut yourself loose.
ANA: Just do it.
ANA: You know why.
[Gale cuts himself free.]
GALE: He kept saying you were misunderstood.
ANA: What are you talking about?
GALE: Goodwin. Yes, he told us all about you, Ana -- how he thought you were worthy, and that he could change you. But he was wrong. And it cost him his life.
ANA: He was going to kill me.
GALE: Was he?
ANA: Are you done?
GALE: Yes, Ana, I'm done.
[Ana draws her gun and points it at Gale's head.]
GALE: So, this is it, huh?
ANA: Yes, Henry. This is it.
[Flashback - We see Jack in the airport in Sydney arguing with the counter agent about his father's body.]
JACK: I want you to listen to me, okay, because I'm asking you a favor, Crissy. I'm standing in front of you in the same suit that I'm wearing to my father's funeral. And I'm asking you a favor. [we see Ana in line behind him] In 16 hours I need to land at LAX, and I need that coffin to clear customs because there's going to be a hearse waiting there [we see Jin standing in line behind him], and I need that hearse to take me and that coffin to a cemetery. Why? Crissy, why can't I just bring him to a funeral home and make all the arrangements? Why can't I really take my time with it? Because -- because I need it to be done. I need it to be over. I just -- I need to bury my father.
[We see Ana dial a number on her cell.]
ANA: [on her cell] That was an airplane. No, I'm not at work. I'm in Sydney. That's right, Australia. I -- I don't know, I -- I made a mistake, mom. You knew, so I got as far away from you as I could. But now -- I want to come home, mom.
CAPTAIN: So come home.
ANA: I'm on Oceanic flight 815.
CAPTAIN: I'll be there when you land, mija.
[On-Island - We see Ana playing with her gun in the hatch. Michael enters.]
MICHAEL: Where is everybody?
ANA: What you said got them worked up. They went to get all the guns back from Sawyer.
MICHAEL: Sawyer? Sawyer has all the guns?
ANA: Long story.
MICHAEL: At least he didn't get that one.
ANA: Yeah. Too bad I can't use it.
MICHAEL: Use it on what?
ANA: We caught one of them -- the Others. He's locked up in there.
MICHAEL: How long has he...?
ANA: Over a week.
MICHAEL: And you're what -- taking care of him?
ANA: He tried to kill me today, so I wanted him dead. I couldn't do it. I couldn't even kill him. I looked at him and he -- I can't do this anymore.
MICHAEL: Then let me do it. They're animals. I've seen these people and they are animals. They took my son -- right out of my hands -- they took my son and -- I'll do it. Give me the gun. I'll kill him. Because that's what they do. [Ana hands him the gun] What's the combination?
ANA: 18 right, 1 left, 31 right.
[Michael looks at the gun for a long time.]
MICHAEL: I'm sorry.
ANA: For what?
[Michael turns and shoots Ana.]
LIBBY: [appearing] Michael?!
[Michael, surprised, turns and shoots her twice. He opens the armory door. He and Gale stare at each other for a long moment. Michael shoots himself in the arm.]