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Disenhanced Episode 9: Solitary

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This week's episode takes us deep inside two strange and unsettling worlds...inside Saddam Hussein's Iraq, and inside the brain of a Crazy French Lady. I'm not entirely sure which is creepier.

In this episode, we learn a little more about Sayid. What we really want to learn, of course, is why Sayid, who seems to know everything there is to know about engineering and communications, served loyally in Iraq's Republican Guard, rather than, say, building his own Iraq - you know, out of spare parts that just happened to be lying around - and proclaiming himself president instead. But that information, it must be said, is not forthcoming in this episode. Indeed, despite the fact that "Sayid Jirrah" is clearly Arabic for "MacGyver", we find out in this episode that not only did Sayid meekly accept to serve the Mother of All Dictators, but that his formidable powers were oriented towards the servile task of imprisoning a young woman from his own neighborhood named Nadia.

In this episode, we are also introduced to Danielle Rousseau. At least, that is the name she once went by, though now it is more convenient for people to refer to her as Crazy French Lady (or CFL for short...actually that makes some sense to use that acronym, as she has a lot in common with the Canadian Football League, in that no one understands the rules by which it operates either.) Danielle has been on the Island for 16 years, and understandably, this has taken a toll on her psyche. I mean, all this time she's had no one to talk to. Tom Hanks at least had a volleyball. She's had no one. Well, unless you count The Voices.

So let's begin the episode for this week, and spend a little time in "Solitary".

Act 1

[Shot of Sayid sitting on a beach, looking at his photos. He looks at the writing on the back of the photo. He looks across the beach and notices something metal sticking out of the sand. Shot of cable in the sand with a piece of the interior exposed. Sayid carefully digs it up. Pan left to the cable going into the ocean, presumably. Shot of Sayid using the cable as a guide going toward the jungle.

[Shot of bandage being ripped off of Sawyer's arm, at Sawyer's tent.]

SAWYER: Ow, easy, Jackass.

CAPTION: Hey, did you see what he did there? He took Jack's name and added "ass" to the end of it. A marvelous play on words. You know, Sawyer may be ready to sit at the Algonquin Round Table and trade quips with Dorothy Parker and Robert Benchley...

JACK: You want it easy, quit moaning. I've got to change these bandages.

SAWYER: Well, try not taking my skin off with them. How'd I score the house call, Dr. Quinn. Trying to ease your conscience?

CAPTION: "Well, that, and you've appropriated most of the stuff from the plane...I'm guessing it wouldn't hurt for the doctor to be nice to the person who has possession of all the medicine."

JACK: My conscience is fine, thanks.

SAWYER: Of course, what do you have to feel guilty about? I mean, you just let that damn Arab torture me -- stood by and watched. You figure you patch me up -- buy you a ticket into heaven?

CAPTION: Sawyer has a point here. Even Mother Teresa would probably not have been able to put up with Sawyer. If St. Peter's looking over your resumé at the Pearly Gates, and there's a bullet point on there about doing something that even Mother Teresa wouldn't do, things are looking pretty good for your entry into Paradise.

SAWYER: Only reason you're here...

JACK: I'm here because no one else wants anything to do with you.

SAWYER: She does.

JACK: Change your own bandages.

CAPTION: Instead of blowing off steam by telling Sawyer to change the bandages himself, Jack should have handed the job off to Kate. Really, how did ABC miss out on an opportunity to have Kate change Sawyer's bandages instead? You see, these writers...they just don't think about what you need to do to build ratings.

[We see Kate on the beach looking worried. Jack approaches.]

JACK: Looking for someone, or just admiring the view?

KATE: It's been two days since Sayid took off on his own. I keep looking up, thinking I'm going to see him coming back.

JACK: He'll come back when he's found what he's looking for -- the French transmission.

CAPTION: With special guest star Gene Hackman as Detective Jimmy "Popeye" Doyle, undercover at the Renault plant in Marseilles.

KATE: He isn't looking for anything. He left because of what happened -- for what he did.

JACK: It was an accident.

KATE: Well, accidents happen when you torture people, Jack.

CAPTION: Aren't you just picturing a sign at Abu Ghraib reading "Now 003 days without an accident"? Really, now, what would constitute an accident for a torturer? You make a careless mistake and whatever it was that you were doing doesn't hurt anyone? "I meant to attach those electrodes to your genitals, but I forgot and left them harmlessly on the floor. I couldn't be more embarrassed. You must think I'm completely irresponsible. Really, we had a perfect record before I came on shift..."

JACK: Sayid's a trained soldier, Kate. He can take care of himself.

[Shot of jungle floor pans up to reveal Sayid walking toward the camera. We see the jungle floor with the cable running along it. Sayid notices a tripwire and carefully steps over it. We see a rope moving through the jungle floor and Sayid's ankles are caught in a trap.]

CAPTION: Burmese Tiger Trap. Surprisibus surprisibus.

Act 2

[Shot of Sayid hanging upside down, praying.]

CAPTION: Something isn't right here. Aren't Muslims supposed to pray towards Mecca? Does Sayid think Mecca is underground?

[He hears something.]

SAYID: Hello? Hello?

[Shot of knife used to cut Sayid down. He falls, and sees someone wearing army green cargo pants, carrying the knife coming toward him before he loses consciousness.]

CAPTION: Okay, does it count as getting hung up on logistics to ask the question why Sayid's abductor went to the trouble of hanging him upside down, just to come cut him down later? Why not tie him up and bring him wherever you want to bring him, without the step in the middle? Maybe the idea was for the abductor to take a picture next to Sayid, sort of the way that people do when they catch a really big fish...you know, in order to prove you caught something that big?

[Shot of Jack doctoring a redshirt. Voices of people arguing (you, get him out of there, he's drinking our water)].

JACK: What's going on out there?

HURLEY: Uh, you know, the usual -- people yelling at each other over nothing.

CAPTION: No, no, that's Seinfeld.

SULLIVAN (a redshirt): Doc, what do you think this is, this, this, this, uh, rash. It's bad, right, like some kind of a tropical disease?

JACK: It's hives.

SULLIVAN: What's that? Is that like poison ivy?

JACK: It's a common rash, Sullivan. It's brought on by heat and stress.

CAPTION: "You know, like the kind of stress you can get from knowing that these few lines you have are the only ones you'll ever get to say on the show."

SULLIVAN: Okay.

JACK: Just try to relax; it'll clear up.

SULLIVAN: Right.

JACK: Try to keep your mind off it.

SULLIVAN: Okay, [to Sun who has a poultice] What is that? Is it like aloe? Isn't that for sunburn, or something?

CAPTION: Ooh, watch out, Jack. Traditional medicine has some competition. And Sawyer thought you were Dr. Quinn. Look out, because here comes Dr. Sun, Korean Medicine Woman.

HURLEY: Try to keep your mind off it? What else has that guy got to do but stress?

JACK: I've got enough on my plate without having to treat hypochondriacs.

HURLEY: Yeah, but that's like my point, man. We're all fried. I'm mean, have you taken a look at everybody out there? Everybody's way tense. Dude, I'm just saying, it'd be sweet if we could have, I don't know, something to do.

JACK: We're surviving here Hurley, and that's what my main concern is, keeping us alive. Things could be worse.

HURLEY: How?

CAPTION: If there wasn't an answer to that question, Lost would not be capable of being renewed for five more seasons.

[Shot of an "interrogation" light. We hear a bunch of voices/languages asking "Where is Alex?" (The voice may just be one voice slowing, morphing into Rousseau's voice as Sayid is coming to. It's like the voice is becoming clearer through a fog). Sayid is tied to a metal bed frame.]

SAYID: What? Who are you?

DANIELLE: Where is Alex?

SAYID: I don't know what you're talking about.

[A figure runs across the frame and does something that electrocutes Sayid.]

CAPTION: That may have been the wrong answer.

DANIELLE: Where is Alex?

SAYID: Please listen...

DANIELLE: Where is Alex?

SAYID: I don't know any Alex.

[Sayid gets electrocuted again.]

CAPTION: Yep. Pretty sure of it now. That's the wrong answer.

SAYID: Stop.

[FLASHBACK]

[Shot of a prisoner being beaten by Sayid in Iraq.]

PRISONER: Stop.

SAYID: Arabic Words [Subtitles: You want me to stop, Falah? Then start answering my questions because I can do this all day. I assure you we already know the truth. But I want you to admit it.]

CAPTION: Bonus points for anyone who gets this joke. "These Republican attacks now even extend to Falah, and let me tell you he is furious about them."

SAYID: [In English] And all the pain will stop. Your Shiite friends have already implicated you in the bombing. [shouting] You planted the device in the Baathist headquarters, didn't you? You killed two soldiers. [lowered voice] Confess it. Confess it, and perhaps it will only cost you your hands instead of your life.

[The prisoner throws up.]

CAPTION: Fortunately, in Gulf War Era Iraq, vomiting is admissible in court.

[Shot of Sayid and his boss/friend, Omar, walking in military type surroundings.]

SAYID: He doesn't know anything. Your sources were wrong.

OMAR: Perhaps. But that's really not the point, is it? You handled yourself very well in there.

SAYID: Did I?

OMAR: I'll put in for your reassignment to Intelligence Division, if you wish it.

CAPTION: What did it say about Saddam Hussein's Iraq that whaling on a guy is proof of "intelligence"? By that standard, Hulk Hogan should be in charge of the CIA.

SAYID: Yes, sir, very much so.

OMAR: Good, now stop calling me sir when it's just the two of us.

SAYID: You're my superior officer, Omar -- for now.

OMAR: And I'll enjoy it while it lasts.

CAPTION: Oh, this is just heartwarming, isn't it? You know, the only thing that would make this better is if Sayid and Omar were sipping languidly on their cups of Café Amaretto, recalling that day in Venice...and what was the name of that waiter? Oh yes, Jean-Luc!

[Shot of a woman being brought in for interrogation. Sayid watches her.]

OMAR: That reminds me, Sayid. In addition to your increased responsibility... Communications officer... [the dialogue volume fades as the woman walks by.]

SAYID: I'm willing to make that sacrifice.

CAPTION: Hmm...isn't that odd that Sayid is referring here to some sacrifice he plans to make. Yes, very interesting. Do you suppose that, say, at the end of this episode, he will make some kind of sacrifice? Do you further suppose that perhaps, just maybe, it isn't the specific sacrifice he's talking about here? Oh, or this could be just a throwaway line of dialogue that we're not supposed to read too much into. Yeah, yeah, that's what it is.

[Shot of Hurley sitting asleep on a log. A bag is dropped at his feet, waking him up.]

ETHAN: Hi.

HURLEY: Yo. What's this?

LOCKE: They were in the jungle. They must have fallen from the plane.

HURLEY: What are you guys doing out in the jungle at night?

ETHAN: Best time to hunt.

CAPTION: Had anyone noticed the one thing missing from this dialogue? Oh yeah...it's anyone asking "Hey, who the hell are you?" This is the first time we meet up with this guy Ethan on the show...nine episodes in...and no one says "Who is this guy?" Granted, Locke seems to know who he is, but isn't it interesting how this Ethan guy gets parachuted onto the show so late and there isn't any hue and cry and calls for the heads of Damon Lindelof and Carlton Cuse? Compare this with the later reaction to Nikki and Paulo being "there the whole time". I suppose it's different when you're not the "Brazilian Tom Cruise" but an actual cousin of Tom Cruise.

LOCKE: Ethan here has some experience -- spotted some tracks, looked like they might be rabbit or some other rodent.

HURLEY: Rodent, yum.

ETHAN: Figured people are starting to get tired of eating boar meat.

CAPTION: How thoughtful of you. People were indeed highly desirous of switching the source of their meat from an animal in the pig family to an animal in the rat family.

HURLEY: You got that right. Alright, well, I'll take a look at these [indicated the suitcases], and see if there's anything useful.

ETHAN: Okay.

[Shot of Hurley digging through luggage and finding a red Hawaiian shirt.]

CAPTION: Hmm. A red shirt. Someone should wear that for good luck.

[We see Locke sheath his knife, and Walt wakes up.]

WALT: Mr. Locke, are you going back out to hunt?

LOCKE: For a bit.

WALT: Can I go with you? I mean, I just want to learn what you do.

CAPTION: "All the other kids in the fifth grade know how to flay rabbits with a machete. I'm worried I'm falling behind."

MICHAEL: [waking up] Walt!

WALT: I was just. I was talking to Mr. Locke and...

MICHAEL: I know what you're doing. It's not going to happen, man. Get back to bed.

CAPTION: Isn't this always the way with those tweener kids...always trying to sneak out for late night backgammon and boar hunting with creepy skinheads? You have to watch them every minute.

HURLEY: [opening a bag] Whoa, dude. [He smiles.]

CAPTION: Hmm. This has a certain air of plot exposition about it. Probably should keep an eye on this for later.

[Shot of Sayid being electrocuted.]

SAYID: Please just listen to me. I keep telling you I don't know who Alex is. I'm a survivor of a plane crash. I found a wire on the beach, I followed it. I thought it might have something to do with the transmission we picked up on our receiver. A recording, a mayday, with a French woman repeating on a loop for 16 years.

DANIELLE: Si quelqu'un m'entend, je vous en prie, venez à notre aide... Il les a tués. Il les a tous tués... [coming out of the shadows] 16 years. Has it really been that long?

CAPTION: Yeah, time really flies when you're stranded on an isolated island in the South Pacific, doesn't it?

SAYID: You.

DANIELLE: You just happened to hear my distress call? I know what you are. [She knocks him out with the butt of a rifle].

CAPTION: Unconscious.

Act 3

[Shot of Rousseau's place, she's going through Sayid's backpack. There's a big book in it. Sayid is looking around and sees a jacket with the name Rousseau on it.]

SAYID: Rousseau.

DANIELLE: How do you know my name?

SAYID: I read it. There, on the jacket.

CAPTION: "Crazy French Lady" wouldn't fit on the lapel.

[Rousseau has Sayid's photos from his pack.]

SAYID: What is this place? Those batteries -- they wouldn't be able to produce enough power to transmit your distress call all these years.

DANIELLE: I broadcast from somewhere else. But they control it now.

SAYID: They?

CAPTION: "The station went corporate. Now they only play 'classic rock'. Sixteen hours of the Doobie Brothers. What is happening to our culture?"

DANIELLE: You. And the others like you.

SAYID: I don't know who you think I am. I've already told you I'm not...

DANIELLE: Sayid?

SAYID: How do you know my name?

DANIELLE: My name was on a jacket, yours is on the envelope you carry.

CAPTION: Apparently, everyone on this show carries around an envelope for identification purposes. Sawyer had his little Knoxville Bicentennial Threat to the Con Man Who Killed His Parents letter in an envelope, and now Sayid's got his envelope as well. (That Ethan guy has an envelope with his name on it as well, with some marching orders from some guy named Benjamin Linus. Not sure what's up with that.)

DANIELLE: Who is she? The woman in the photographs.

SAYID: Nadia. Her name is Nadia.

[FLASHBACK]

[Sayid and Omar in Iraq.]

OMAR: We cannot tie Noor Abed-Jazeem directly to the bombing, but we know where her sympathies lie. She's a known associate of Kurdish and Shiite insurgents.

CAPTION: "Although I can never tell apart the Kurds from the Shiites. Frankly, all those guys look alike to me."

SAYID: You think she knows who orchestrated the bombing?

OMAR: That, my friend, is exactly what you will find out.

[We see Sayid in a room with the woman he had watched being escorted into the building in the previous flashback.]

SAYID: Noor Abed-Jazeem, I'm going to ask you some questions. If you refuse to cooperate I'm going to hurt you. You understand?

NADIA: Nobody calls me Noor, Sayid. You of all people should know that.

[Sayid is startled.]

NADIA: What? You don't remember me? Am I so different from the little girl in the school yard who used to push you in the mud?

CAPTION: Sayid forgot a female mud wrestler? He has been in the army too long.

SAYID: Nadia?

NADIA: And your mother would tell my mother, "why must you pick on little Sayid." And I'd answer, because he ignores me.

SAYID: You had enough attention with your family's wealth and your charm.

NADIA: Such things matter little to children. But then you always were older than your years, weren't you, Sayid?

CAPTION: It's true. Iraqi state television even was considering Sayid for a pilot based on Doogie Howser, M.D. "He's fifteen years old, and already he's passed his Torturer's Exam and has opened up a practice. But his friends are all still in high school..."

SAYID: Not old enough to understand that being pushed in the mud was a sign of affection. Now you're a traitor to your country. Tell me what you know about the bombing in Najaf. Tell me, or I swear I will hurt you.

NADIA: Oh, I know Sayid. This is not my first interrogation by the Republican Guard. This is where they burned me with acid -- they pierced my hands with a drill. Would you like to see the soles of my feet? Where they flayed the skin off? These are the handiworks of your friends. The people you swear allegiance to.

CAPTION: "And these are just the physical manifestations of my agonies. We do not speak of the mental agonies I suffered when they made me watch a Debbie Gibson video."

SAYID: If you were innocent, I am sorry. But this bombing is a different matter, Nadia.

NADIA: Go on, Sayid, do your work. I'm not going to tell you anything.

SAYID: Then I'm going to hurt you.

NADIA: I know.

CAPTION: You know, torture loses a lot of its ability to impress people after the eighth or ninth times. You can really see this here. Nadia is bored, frankly. "What, you're just going to cut my fingers off with a rusty hacksaw? Come on, they did that to me in Basra. Can't you show me something new?"

[Shot of a old bullet wound on Sayid's leg back at Danielle's place.]

DANIELLE: You have a bullet wound.

SAYID: I was a soldier.

DANIELLE: You were. And are you still?

SAYID: That was a long time ago.

DANIELLE: Tell me more about her, the woman -- Nadia.

SAYID: Alex. Who is he?

CAPTION: And it's a stand off. Sayid doesn't want to tell Danielle the sad story of Nadia, and Danielle doesn't want to tell Sayid the sad story about Alex. What we have here is a failure to commiserate.

[Shot of Michael with a sketch book.]

WALT: I'm bored. Can I take Vincent to the beach?

MICHAEL: I'll take you later, man. I'm in the middle of something.

WALT: But there's nothing to do around here.

MICHAEL: Well, you've got to figure out stuff to do. You know what I'm saying? You've got to find a way to entertain yourself.

CAPTION: This only proves what a naïve excuse for a father Michael is. It won't be too long before young Walt figures out one fairly popular way to entertain himself, at which point maybe Michael might have to get him his own tent.

[We see Hurley looking for something.]

HURLEY: [rummaging suitcases in search for something, speaking to himself] Come on. Come on. I know I saw it. [He finds what he was looking for.] Yes.

JACK: Hurley, uh...

HURLEY: Hold on, man. I'm busy.

[Hurley sees Michael holding a long stick.]

HURLEY: [to Michael] Dude, can I borrow this?

MICHAEL: What?

HURLEY: [takes the stick] Thanx, man.

JACK: Hurley, what are you doing?

[Hurley just laughs.]

CAPTION: There it is again. That uncanny sensation that somehow plot exposition might be happening. There's something up here. Gotta keep an eye on that.

[Shot of Danielle at her place.]

DANIELLE: So, you heard my transmission -- came looking for me, for answers?

SAYID: I didn't know you were alive.

DANIELLE: Still lying.

SAYID: I'm not lying.

DANIELLE: Lies!

CAPTION: "Oh, wait a moment...let me just clarify...you mean 'lying' as in 'not telling the truth', right? Because technically I am 'lying' down, seeing as how you've tied me, in a horizontal position, onto this table. So when I said 'I'm not lying', if I meant 'lying' in the sense of 'lying' down, then that would be a 'lie' in the sense of 'not telling the truth'. But if you meant to begin with 'lying' as the same thing as 'not telling the truth' then I wasn't 'lying', then or now. Is that clear? Um...why are you pointing the barrel of your rifle at me?"

SAYID: Nothing...

DANIELLE: Like this plane crash which you survived. You claim there were others?

SAYID: More than 40, yes.

DANIELLE: Then why are you alone?

CAPTION: "Because I had to justify the title of this episode."

SAYID: I left them.

DANIELLE: Why?

SAYID: There was -- I did something, something I'm ashamed of.

DANIELLE: But Nadia, you left her, too?

SAYID: She wasn't on the plane. She's dead -- because of me.

DANIELLE: I'm so sorry. I want to show you something.

CAPTION: It should probably trouble Sayid that he is bonding with the Crazy French Lady over the fact that he did something which resulted in the untimely death of a loved one.

[Shot of Michael's sketch book.]

MICHAEL: See, this junction here -- re-route some of the spring's water flow into a couple of suspended basins, pop in some hose, you got showers. This way you keep the drinking water separate.

JACK: This is -- you drew this?

MICHAEL: I was an artist in a previous life.

JACK: I thought you were in construction.

MICHAEL: I am. I mean, I was -- long story.

CAPTION: "Anyway, while we're on the subject of real estate improvements, here's my plan for a block of condos. Tentatively, I've given the new subdivision the name Island Acres"...

CHARLIE: Hey, Jack. Hurley's all worked up about something, said we should come see it.

[Shot of plateau on mountain.]

HURLEY: Welcome, to the first, and hopefully last, Island Open.

JACK: What?

HURLEY: It's two holes for now, 3 par, and no waiting.

CAPTION: Winners of the Island Open get the traditional green jacket. Runners-up get the red shirt.

JACK: Hurley, you built a golf course?

HURLEY: Rich idiots fly to tropical islands all the time to whack balls around.

CAPTION: Make up your own joke here.

MICHAEL: All the stuff we've got to deal with, man -- this is what you've been wasting your time on?

HURLEY: Dudes, listen. Our lives suck. Everyone's nerves are stretched to the max. I mean, we're lost on an island, running from boars and monsters -- freakin' polar bears.

MICHAEL: Polar bears?

CHARLIE: You didn't hear about the polar bear?

CAPTION: It would seem that, with all the professional expertise amongst the survivors...doctoring, engineering, architecture and construction...no one on board happened to be a journalist. Thus there was no Sunday edition of the Island Gazette with the banner headline "THIS ISLAND HAS FREAKIN' POLAR BEARS".

HURLEY: Look, all I'm saying is, if we're stuck here, then just surviving's not going to cut it. We need some kind of relief, you know. We need some way that we can, you know, have fun. That's right, fun. Or else we're just going to go crazy waiting for the next bad thing to happen.

[Back at Danielle's we see her music box.]

DANIELLE: It's a music box, but it's broken. It has been for a long time. It was a gift from my love for our anniversary.

SAYID: You mean Alex?

DANIELLE: Robert. This was such a comfort to me in the first few years here.

SAYID: I could fix it for you. I could take a look at it, if you freed my hands. [Danielle gets up quickly.] I'm very good with mechanical things. I need my hands.

CAPTION: "It's a fair trade...you electrocute me several times and hit me in the face with a rifle butt, I fix your music box."

[Danielle gets a syringe, scrapes it with sandpaper, and fills it with some medication.]

DANIELLE: What is written on the back of your photograph?

SAYID: What are you doing?

DANIELLE: Did she write it? Or did you? Perhaps you don't want to tell me because it causes too much pain.

SAYID: Rousseau, you don't need to do that.

[Shot of Danielle giving him the injection.]

CAPTION: Actually, Sayid should count himself lucky. He's worked her down from being hung upside down, zapped with a few thousand volts and thumped with a blunt instrument to mere injection with as yet unnamed chemicals. That's progress.

Act 4

[Shot of Michael and Jack, close up on their faces.]

MICHAEL: This is a problem, man.

JACK: Yeah.

MICHAEL: I mean, I know what I'd do, but it's got to be your call.

JACK: Okay, give me a seven iron.

MICHAEL: You got it.

JACK: [to Hurley and Charlie who are taunting him] Hey, heads up over there.

CHARLIE: No Jack, you won't get anywhere near us.

SULLIVAN: [off camera, interrupting Jack's shot] Hey, Doc? There you are. Somebody said you went this way. Listen, that rash of mine, it's starting to spread. It's like the size of a grape. What are you guys doing? Are you playing golf?

JACK: Yeah.

SULLIVAN: Can I play?

CAPTION: Not only is it strange that no fans of the show are particularly troubled by the sudden appearance of Ethan...but it's also strange that no fans of the show are troubled by the appearance of this guy Sullivan on one episode of the show. On Lostpedia, in fact, the only "unanswered question" listed about Sullivan is the question "Is his rash better?" No one asks "What the hell happened to him?" This from the same bunch of über-fans that theorize that the ancient Egyptians sailed a ship out of Portsmouth while Alvar Hanso's great-grandfather bought out MacCutcheon Whisky while he made the first breakthroughs in parapsychology and temporal mechanics. What gives? Everyone's got a half-baked theory about anything...except what happened to poor Sullivan. You know, he probably has a fictional wife and fictional children who are fictionally staying up late worrying about him. Who worries about them, huh?!

[We see Sayid unconscious, chained to chair. He suddenly wakes up.]

DANIELLE: Sorry about the sedative. It was the only safe way for me to move you. You offered to fix my music box after all I've done to you -- striking you, shocking you. Why?

CAPTION: "You mean, besides the fact that you would have to untie me in order for me to do it?"

SAYID: Do you want me to fix your music box, or don't you?

DANIELLE: Yes. Yes, please.

SAYID: Then I want to know your name. Your first name.

DANIELLE: Danielle. My name is Danielle.

SAYID: [working on the music box] And how did you come to be on this island, Danielle?

[Danielle sighs and looks like she doesn't want to talk about it, but she will as if for the price of the music box.]

DANIELLE: We were part of a science team.

SAYID: A science team armed with rifles?

CAPTION: "Being armed with knowledge didn't scare the bejeezus out of people quite as much as we hoped it would."

SAYID: Was Robert on the team?

DANIELLE: Yes.

SAYID: And Alex, was he, too?

DANIELLE: Our vessel was 3 days out of Tahiti when our instruments malfunctioned. It was night, a storm, the sounds. The ship slammed into rocks, ran aground, the hull breached beyond repair. So, we made camp, dug out this temporary shelter. Temporary. Nearly 2 months we survived here, 2 months before --

CAPTION: Hmm. Danielle didn't answer the question about Alex directly. Interesting.

SAYID: Your distress signal? The message I heard, you said, "It killed them all."

DANIELLE: We were coming back from the Black Rock. It was them. They were the carriers.

SAYID: Who were the carriers?

CAPTION: "Back then it was Island Bell, but then came the deregulation, and then it was Verizon and T-Mobile and all of them...and the big conglomerates started to crowd out the smaller companies...the competition was brutal...it killed them all."

DANIELLE: The others.

SAYID: What others? What is the Black Rock? Have you seen other people on this island?

DANIELLE: No, but I hear them. Out there, in the jungle. They whisper. [Long Pause.] You think I'm insane.

CAPTION: "Hence the name Crazy French Lady."

SAYID: I think you've been alone for too long.

[FLASHBACK]

[We see Sayid going into Nadia's solitary confinement cell.]

SAYID: [giving her bread] I'm sorry, this is all I could find. I'll try and bring you some fruit later on. Are you ready to talk?

NADIA: That depends on what you'd like to talk about, Sayid. Books, weather? Since I've seen neither locked in this cell for weeks, I'm afraid my conversation will suffer.

CAPTION: "Now, don't be so defeatist. I'm sure you could think of a great many things to say about your experiences inside the facility - take those maggots infesting your food, for example. They're quite the conversation piece, don't you think?"

SAYID: We have two suspects in custody. Have a look at these photographs. All you need to do is nod. If you prove you are willing to cooperate, I think I can get them to free you.

NADIA: Then I won't have these visits to look forward to anymore.

SAYID: This isn't a game, Nadia.

CAPTION: Does this mean Nadia can't play her "Get Out Of An Iraqi Torture Center Free" card?

NADIA: Yet, you keep playing it, Sayid -- pretending to be something I know you're not.

[Shot of Shannon sunning on beach.]

BOONE: You're never going to believe this.

SHANNON: You finally learned how to tie your own shoes?

BOONE: Funny.

CAPTION: "Dammit to hell, though...why does it still elude me?!"

BOONE: Someone at the caves built a golf course.

SHANNON: Are you high?

CAPTION: "You got me, Shannon...while you're sleeping, I've been huffing your inhalers."

BOONE: Seriously, a golf course. Apparently, Jack's playing with them right now.

KATE: Jack is golfing?

BOONE: That's what I hear. I don't know about you guys but I'm going to go check this out.

SHANNON: Wait for me, bonehead.

SAWYER: Doctor playing golf. Woo, boy howdy, now I've heard everything. What's next, cop eating a donut?

CAPTION: Or maybe a Southerner with an amusing regionalized diction?

KATE: You want to come you should just say.

SAWYER: I think I'll pass on that, Freckles. Not big on crowds. And let's face it, the crowd's not too hot on me, either.

KATE: One outcast to another -- I'd think about making more of an effort.

SAWYER: Duly noted.

CAPTION: Though, strictly speaking, if Sawyer's hope is to be, at some point, something besides an outcast, the really practical advice on how to avoid outcast status will probably come from...um...someone else who is not an outcast.

[Shot of Sayid in Danielle's place with the working music box.]

SAYID: You see, some things can be fixed.

CAPTION: "I can totally fix this music box. Your brain...probably not so much."

DANIELLE: Thank you. Thank you so much. Thank you so much.

SAYID: Danielle, please let me go.

DANIELLE: Go?

SAYID: Back to the people I told you about.

CAPTION: "Even though I left them because I was disgusted with myself for being a torturer...um...I'm kind of okay with all that now so I'll go ahead on back now. Okay? Toodles."

DANIELLE: You can't. You have to stay. It's not safe.

SAYID: Not safe, what's not safe?

DANIELLE: You need me. You can't leave.

SAYID: Danielle...

[They hear sounds outside and Danielle picks up a rifle and heads to the hatch.]

SAYID: Where are you going?

DANIELLE: If we're lucky, it's one of the bears.

SAYID: If we're lucky? It might be that thing out there -- the monster.

DANIELLE: There's no such thing as monsters.

CAPTION: It's beyond weird that Crazy French Lady is the only one on this island who doesn't believe in monsters.

[FLASHBACK]

[We see Sayid and Omar at their base.]

OMAR: You have to execute her.

SAYID: What?

OMAR: The Jazeem woman has given us nothing. This will send a message to the others who will not talk.

SAYID: I just need more time with her.

OMAR: You have had more than a month, Sayid.

CAPTION: A month? They've had Nadia in the torture center for a month...what's Sayid been doing with her in there? Playing Scrabble?

OMAR: Now bring her outside and shoot her. Or I will. Is this a problem?

SAYID: No, it's not a problem.

OMAR: Good.

[Shot of Nadia in her cell.]

NADIA: What did you bring me today?

[Sayid throws an execution hood at her side.]

SAYID: Put it on.

NADIA: Are you going to hurt me, Sayid?

CAPTION: "Well, you have to be taught a lesson...it is forbidden to play a word with the letter 'qāf' in it on a Triple Word Score..."

Act 5

[Shot of Sayid using the screwdriver from when he fixed the music box to get out of his chains. He grabs Danielle's maps, and his pack, and a rifle. The photos of Nadia get left behind.]

CAPTION: "Ah, the old fix the music box and then open your handcuffs with the screwdriver trick. That's the second time it's worked on me." (Royalties to the estate of Don Adams.)

[Shot of golf course.]

CHARLIE: Ugh!

HURLEY: Dude, I think he stuck it.

CHARLIE: Lucky, lucky.

KATE: This thing have a ladies team?

JACK: Hey, when did you show up?

KATE: A while ago. I almost didn't recognize you. You're smiling.

JACK: I'll have to watch that.

KATE: So how'd you come up with this?

JACK: Wasn't me -- it's all Hurley. I've been going crazy trying to make everyone feel safe. I haven't been sleeping because I want everyone to feel safe. And he builds a golf course and everyone feels safe.

CAPTION: It was that sign he posted on the fairway that said "NO POLAR BEARS OR NON-CORPOREAL SMOKE MONSTERS ARE PERMITTED ON THE CLUB GROUNDS" that did it.

HURLEY: [after missing the ball completely] Aw, crap, do over.

CHARLIE: It's a mulligan, mulligan. It's a gentleman's sport, you've got to get the words right. Mulligan.

CAPTION: "Of course, you're completely right, Charlie. Say, what's the word for when you distracted us and then kicked your ball about a foot closer to the hole while we weren't looking?"

WALT: Dad.

MICHAEL: Hey, come here. Check this out.

CHARLIE: [hugging Hurley from behind] You want to -- let me.

HURLEY: Dude, get away from me.

WALT: You left me alone at the caves.

MICHAEL: What? I left you with Claire.

WALT: She's sleeping.

MICHAEL: Oh, man. I'm sorry. I just..., I just got caught up. I'm really sorry Walt. I screwed up. I'll make it up to you. Hey, you want to play?

WALT: Naw, there's other people waiting.

MICHAEL: Oh no, don't worry about it, they won't mind. You want to take a swing?

CHARLIE: Michael, it's your shot. You're up.

MICHAEL: Oh, okay, cool. [to Walt] So we'll play later, okay?

[Shot of Sayid in jungle. He levels his rifle at Danielle.]

SAYID: Put the gun down, Danielle. Put it down on the ground.

[She doesn't, she levels her rifle at him.]

SAYID: Don't.

[FLASHBACK]

[We see Sayid walking down a corridor with Nadia in the hood.]

CAPTION: So this is why Sayid considers Nadia as "just a girl from the hood"...

SAYID: [to two soldiers] I'll take it from here.

[The soldiers leave, and Sayid runs with Nadia.]

NADIA: [terrified] What's... what's going on?

SAYID: 40 meters outside this door there's a supply truck that will be leaving shortly. They don't check them on the way out, only coming in. Get inside. Cover yourself any way that you can. They won't reach the city for 30 minutes, that's enough time for you to jump out and hide yourself.

CAPTION: "Then after that, you'll have to scrounge up some phony papers to escape the country. You'll probably have to rob a bank in order to get enough money to pay someone off to forge those papers. The bank job will require meticulous planning, so you'll probably have to contact some career criminals. Here's a list of some. Also, you'll need to cut them in on the take from the bank, but don't try to cheat them or they might track you down. Once out of the country, you'll have to evade our secret police operatives in every major world population center."

NADIA: Come with me.

CAPTION: "Ooh, golly, wish I could."

SAYID: I can't. Desertion. They would kill my family. I don't have your courage.

NADIA: You have more than you know.

[She takes the photos out and writes something on the back.]

SAYID: Nadia, you have to go.

OMAR: [off camera at first] Sayid. What are you doing?

[Omar reaches for his gun.]

SAYID: Don't.

OMAR: [shouts] Guards!

[Sayid shoots him.]

CAPTION: What's a superior officer, Omar or less? (Okay, that one was bad.)

NADIA: Sayid, now you have to come with me. They'll kill you.

SAYID: No, you escaped, you stole my gun and you shot him. And then you shot me.

CAPTION: "So hey, don't get caught or anything, or you're up for murder, too. See ya."

[Sayid shoots himself in the leg.]

NADIA: Sayid!

SAYID: [giving her the gun] Take it. Please, Nadia. Take it and go.

CAPTION: "Not going to go, eh? Okay, then...I'll have to raise the stakes. I'll shoot myself in the arm!"

[Shot of Danielle.]

SAYID: Please, I don't wish to hurt you.

DANIELLE: You already have.

SAYID: Don't.

[Sayid fires, but nothing happens.]

DANIELLE: The firing pin has been removed. Robert didn't notice it was missing, either -- when I shot him.

CAPTION: Most wives threaten their husbands with rolling pins, not firing pins...

SAYID: But you loved him.

DANIELLE: He was sick.

SAYID: Sick?

DANIELLE: It took them, one after the other. I had no choice. They were already lost.

SAYID: You killed them.

DANIELLE: What would have happened if we were rescued? I couldn't let that happen. I won't.

[Sayid throws the rifle down.]

SAYID: I'm not sick.

DANIELLE: I know.

SAYID: Then why kill me?

CAPTION: "Frankly, Sayid, I just like messing with ya."

DANIELLE: I can't let you go. Don't you understand, to have someone to talk to, to touch --

SAYID: "You'll find me in the next life if not in this one."

CAPTION: Translation - "In this life I'm totally uninterested in you."

DANIELLE: What?

SAYID: The writing on the back of Nadia's photograph. I know what it's like to hold on to someone. I've been holding on for the past 7 years to just a thought, a blind hope that somewhere she's still alive. But the more I hold on, the more I pull away from those around me. The only way out of this, this place, is with their help. Come with me. You don't have to be alone, Danielle.

DANIELLE: Your people -- the ones you're determined to get back to -- watch them, watch them closely.

SAYID: Danielle, who is Alex?

DANIELLE: Alex was my child.

CAPTION: Notice Danielle refers to her child by name, rather than by a pronoun taking the place of this name. How curious.

Act 6

[Meanwhile, back at the golf course, Charlie is picking grass out his way as Michael laughs.]

CHARLIE: Guys, please. I've never made par on a course before.

[He takes his shot and misses.]

HURLEY: Dude, you were robbed.

CHARLIE: Bollocks. See that?

MICHAEL: Okay, Jack. It's up to you. Sink this you get to wear the blazer.

CAPTION: "And by the way, blazers are very aptly named on a tropical island, let me assure you..."

KATE: No pressure.

CHARLIE: Yeah, no pressure.

HURLEY: 5 bucks says he sinks it.

CHARLIE: Hey, you're betting against me?

CAPTION: Charlie is apparently unaware that the Vegas line has a spread of 30 strokes on Jack to win.

HURLEY: Sorry, dude, but you're a duffer like me.

BOONE: Make it 10 and you're on.

SULLIVAN: I don't have any cash, but I'll bet my dinner on the Doc.

CAPTION: That explains it! Jack lost the tournament, so Sullivan lost his dinner and starved to death!

SAWYER: I've two tubes of sunscreen and a flashlight says he chokes.

[Everyone just stares at Sawyer for a minute.]

KATE: I'll take that action.

BOONE: Yeah, yeah, me too.

SHANNON: You just bet on Jack, dumb-ass.

BOONE: We need the sunscreen, Princess.

CAPTION: Boone knows whereof he speaks. He actually had to take out a second mortgage on his house back in the States just to keep Shannon stocked in sunscreen. He still owes a few payments to her bikini suppliers, and don't think these creditors won't find him just because he's stranded on an island in the middle of the ocean, either.

[Jack takes his shot, but we don't see it. We see Locke's knife flying into a tree, instead.]

LOCKE: Does your father know you're here?

WALT: [shaking his head] Can you teach me how to do that?

[We see Sayid walking through the jungle. Sound of wind, birds wings, whispering voices.]

CAPTION: And so we come to the end of another episode of Lost...and one in which several characters have learned things about themselves. Sayid and Danielle have learned that they don't have to suffer alone, and that they can count on one another to help each other make peace with their pasts. Hurley has taught the survivors a critical lesson, a lesson which the American upper middle class has long taken to heart - namely that golf heals what ails the soul. And Walt is learning, through his association with Locke, that it's really fun to heave sharp projectiles at trees. All are the better for knowing these deep and valuable secrets...or maybe not, actually. Anyway, see you next week.

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