EXT. ISLAND BEACH -- DAY

AARON fusses, CLAIRE is at a loss. LOCKE approaches.

CLAIRE

I know I woke you and I'm very, very sorry; but please, staying awake for eight hours straight -- isn't that just cruel and unusual punishment?

LOCKE

How's that cradle treating you?

CLAIRE

The cradle's great. It's the baby that's the problem.

LOCKE

What's wrong?

CLAIRE

He just won't sleep.

LOCKE

May I?

CLAIRE

Sure.

EXT. ISLAND BEACH -- AFTERNOON

LOCKE swaddles AARON.

LOCKE

Babies like the feeling of being constricted. It's not until we're older that we get this idea in our heads that we ought to be free.

CLAIRE takes the baby.

CLAIRE

You know, I think everybody knows more about my baby than me.

LOCKE

Everybody?

CLAIRE

Charlie read me the riot act last night for waking him. And as mad as it made me -- turns out he was right. You know, it's like we're playing mum and dad to this baby. Yet, I don't remember marrying him. No, seriously. I mean, we're practically strangers, him and me. For all I know, Charlie could be some religious freak.

LOCKE

Yeah. I seriously doubt that.

CLAIRE

Then why is he carrying around a Virgin Mary statue?

LOCKE

What?

CLAIRE

You know, one of the little statues? He says he found it in the jungle.

LOCKE

Hmm, how about that?

EXT. BOONE'S GRAVE -- DAY

SAYID maintains a respectful distance.

SHANNON

(to the grave, softly)

Isn't this the part where you tell me what I can't do? I always screw up when you're not around to tell me what to do.

Cue flashback F/X...

INT. CHEL'S ROOM -- NIGHT

CHEL'S prostitute pad, with a window where she can display her wares. CHEL closes the blinds. (Distant, across the

street, we glimpse SAWYER paying a woman outside a similar room.)

CHEL

Damon told me about your problem.

SHANNON

Yeah, well. (glances around) Maybe a priest would be more appropriate?

CHEL

Oh, chica, you don't want to have anything to do with those perverts.

SHANNON

Where are the others?

CHEL

They are running late, but we can start without them.

SHANNON

I don't know how I got mixed up with you people.

CHEL

It takes a special... a special kind of person... to make sense of this strange world.

SHANNON

I don't know about that. Just... Just can you make him stop?

CHEL

He's coming after you for a reason. When you know the reason, then he'll stop.

SHANNON

There was the accident... Then, it was over. There was nothing anyone could have done, I guess. No reason. No such thing.

CHEL

There are no accidents, darling.

DAMON

Everything happens for a reason.

SHANNON

(glaring at both)

So what, are you saying it's my fault?

CHEL

Who's fault should it be?

SHANNON

(exasperated)

Is this conversation going anywhere?

CHEL

Sometimes you can go so fast, it feels like you're standing still.

Flashback F/X and then...

EXT. JUNGLE 4 -- DAY

SAWYER continues to struggle along. The walkers skirt a rocky beach. They slow to a crawl.

ANA

If we don't start moving faster...

EKO

We need a break. (handing Sawyer some water) Here.

They stop. EKO assesses the coastline they need to traverse.

ANA

What are you looking at?

EKO

We have to cut inland.

ANA

Into the jungle? They said their people were on the beach. If we keep walking...

EKO

He'll die. This will be faster.

ANA

You'd risk our lives to help him?

EKO

It's the only way I know.

ANA

I liked you better when you weren't talking.

EXT. ISLAND BEACH -- DAY

CLAIRE and LOCKE. AARON sleeps.

CLAIRE

I can't believe he's still asleep.

LOCKE

Once you see there's no place to go, you can finally relax.

CLAIRE

Uh-huh.

CHARLIE

(enters)

Oh.

LOCKE

Hello, Charlie.

CLAIRE

Hey, John just taught me a new trick. Aaron's sleeping.

CHARLIE

That's excellent. I just came to take him so you could have your walk.

CLAIRE

(to Locke)

Looks like I've got somewhere to go.

LOCKE

(smiling)

Try to relax anyway.

She goes.

CHARLIE

(to Locke)

What was that all about?

EXT. JUNGLE 5 -- DAY

Tail survivors trudge onward. Quietly. LIBBY steps on a stick, and CINDY shushes her. JIN speaks, SAWYER stumbles, JIN speaks again.

SAWYER

I'm fine.

JIN

(in Korean)

ANA

Shhhh - shut up.

MICHAEL

What? They can't talk at all?

ANA

If he talks he's going to get us all killed.

MICHAEL

By what? Them? I thought they lived a day back that way?

ANA

How about you shut your mouth and get your buddy over here moving?

MICHAEL

What happened to you people? You want us to take you back with us? Fine. But you want me to keep quiet then you need to tell me why I have to.

ANA

(beat)

They came the first night that we got here. They took three of us. Nothing happened for two weeks, then they came back. They took nine more. They're smart, and they're animals, and they could be anywhere at any time. Now we're moving through the jungle -- their jungle -- just so you can save your little hick friend over here. And if you think that one gun and one bullet is going to stop them -- think again. So shut your mouth and keep moving.

MICHAEL

They took my son.

ANA

They took a lot of things.

EXT. BOONE'S GRAVE -- DAY

After a long wait, SAYID approaches, respectfully.

SAYID

I know what it is to lose someone you care deeply about.

SHANNON

You think this is all about Boone? I saw Walt, Sayid.

SAYID

Yet Vincent brought us here.

SHANNON

Walt isn't dead.

SAYID

Of course not, that's not what I meant at all.

SHANNON

(getting up to leave)

Just go back, Sayid.

SAYID

Where are you going?

SHANNON

To find him.

Flashback F/X to...

INT. CHEL'S ROOM -- NIGHT

CHEL and DAMON are smoking an exotic looking pipe. The room is full of smoke. SHANNON is coughing and wheezing. All three are sitting on the floor, Indian-style. Candles, an air of the occult around them.

SHANNON

God, what's in that thing? Drugs? I feel sick...

CHEL

When does he come to you?

SHANNON

I don't know. It just happens.

CHEL

What does he want?

SHANNON

I don't know. Nothing. Something.

CHEL

What do you see when he comes?

SHANNON

(shaken)

Blood.

SHANNON'S eyes are suddenly filled with blood, all crimson, her pupils extinguished.

CHEL

Is he near?

SHANNON

Yes... No... I don't know!

CHEL

Let him come.

SHANNON

I don't want to!

CHEL

Then go!

SHANNON stumbles toward the back door. A whining, electronic buzz starts softly, louder. She pushes at the door, blindly, eyes filled with blood.

EXT. ALLEY -- NIGHT

SHANNON in the alley, stumbling, crying. Blood tears.

SHANNON

He's coming! Help me, dammit! Damon! Chel! Damon!

The buzz/whine gets louder. Seedy passersby stop and look at the madwoman.

SHANNON (CONT'D)

Go away!

Buzz gets louder. SHANNON falls up the alley, further. A shadowy figure at the end. She falls to her knees, looks up with blood-filled eyes. Standing there, bloody and damaged, as we saw him on an operating table, is ADAM RUTHERFORD. His arms reach out to embrace his daughter. He speaks, his voice is a whisper, distorted (the words are played backwards).

SHANNON (CONT'D)

DADDY! DON'T!

The buzz becomes impossibly loud and then cut to...

COMMERCIAL BREAK

INT. GIRL'S BEDROOM -- EVENING

The room is lavishly furnished. A young teen blonde girl sits on her bed, thumbing through a glamour magazine. The bedroom door opens.

ADAM

Who wants their allowance?

YOUNG SHANNON

(ambivalent)

I do.

The sound of a door closing softly but artificially LOUD, a jarring, sharp cut to...

EXT. JUNGLE 7 -- DAY

Shannon and Sayid and Vincent walk into the Jungle.

SHANNON

Why did you build that house for me?

SAYID

I wanted to give you something.

SHANNON

And you wanted something from me in return. OK. Good investment. Glad it worked out for you.

SAYID

(frowning)

It's not like that at all.

SHANNON

Everybody has an agenda here. I mean, on this island.

SAYID

We have nothing here except each other. What advantage could any one of us have over any other?

SHANNON

We're all victims, anyway.

SAYID

I do not understand.

SHANNON

Why do you do things for me?

SAYID

I care about you.

SHANNON

Why? I mean, you're an Iraqi army guy. I'm a California debutante. What could we possibly have in common, right? Except hormones.

SAYID

(ignores the bait)

It's in the eyes.

They stop walking and face each other.

SAYID (CONT'D)

I have seen terrible things.

SHANNON

And?

SAYID

And so have you. I see something inside of me reflected in your eyes. We are both survivors.

SHANNON

You don't know what I've seen.

SAYID

It doesn't matter what the terrible things were. It only matters that they were terrible.

SHANNON

It does matter. What they were.

SHANNON bores a hole in SAYID with her stare.

SAYID

It would not change my feelings for you. Therefore, it does not matter.

She stares a moment longer, then nods sharply, conceding the point, at least for now. They resume walking.

EXT. ISLAND BEACH -- DAY

LOCKE and CHARLIE play backgammon.

CHARLIE

Double sixes. You, sir, have the luck of the devil.

LOCKE

(laughing)

Yeah. Well. (gestures at his pieces on the board) Always bet on black.

CHARLIE

Did Claire tell you we had a fight?

LOCKE

She didn't say it was a fight.

charlie

She was going to give it up, you know -- for adoption. Did she tell you that?

LOCKE

Yeah, when I built the cradle.

CHARLIE

Ah, of course.

LOCKE

Why do you ask?

CHARLIE

She's got a bit to learn about being a mum -- responsibility and all.

LOCKE

Hmmm, now that's an interesting thing to say -- for a heroin addict.

CHARLIE

Recovering addict.

LOCKE

(smiles)

Yeah. It's your turn.

EXT. JUNGLE 6 -- DAY

The Tailenders trudge on.

BERNARD

(to SAWYER)

Here, let me help you.

JIN speaks in Korean.

MICHAEL

I got it.

JIN speaks in Korean.

MICHAEL (CONT'D)

I said I got it, man. Take a break.

JIN speaks in Korean.

SAWYER

(to Michael)

What? You suddenly give a damn about me? Leave me alone. Both of you. I got it.

SAWYER collapses.

MICHAEL

Hey, hey, hey.(raises SAWYER's head) Okay. Hey, Sawyer, you okay?

SAWYER

(weakly)

I would have left you behind.

MICHAEL

Shut up, man. Don't try that.

SAWYER

I did leave you behind.

MICHAEL

(smiles)

Yeah, well, good thing I ain't you.

SAWYER passes out.

MICHAEL (CONT'D)

No, no, hey, Sawyer. Sawyer, hey.

JIN

Water! Water!

LIBBY

Here you go. Here, here.

MICHAEL

What's the matter with him?

LIBBY

Well, the fever -- he's got an infection -- he's dehydrated.

ANA

We gotta keep moving.

MICHAEL

What?

ANA

We gotta keep going.

JIN speaks in Korean.

ANA (CONT'D)

You want to stay, that's fine. But we're rolling out.

BERNARD

We can't just leave him, Ana.

LIBBY

Maybe if we just rest a little while, he'll regain consciousness.

ANA

Rest? Here? Do you remember what happened to us? What they did to us? You remember Goodwin?

CINDY

Ana's right, maybe we should just push on.

MICHAEL

Hey, you know what? I don't remember Goodwin. And I'm really sorry about whatever happened to him, but I don't care. Mr. Eko, can you help me make a stretcher? And Bernard, I need four sticks -- sturdy ones -- about five feet long.

BERNARD

Yeah, got it.

ANA

You're going to carry your friend.

MICHAEL

Yeah, we're going to carry him.

EXT. ALLEY -- NIGHT

SHANNON scrambles away from ADAM, who just stands there. The alley breifly angles strangely -- as if unreal -- but yet it is solid, grimy, tangible, all too real. The backward speaking of ADAM continues from behind her as she moves away from him. CHEL and DAMON are in front of her her as she changes direction, but the door back to CHEL's room is gone.

SHANNON

Make him go away! That's what you're supposed to do, right? You were supposed to help me! They said you would help me!

CHEL

They said. (dismissive) Who are they to say what will happen?

SHANNON

Damn you!

DAMON laughs as she moves off in another direction, seemingly a new one even though the alley is narrow and constricted. The audio focus moves away from them, but we hear (barely) CHEL saying to someone "Namaste. You're late."

SHANNON stumbles to the ground. Booted feet in front of her face. She looks up. Standing over her is BOONE, standing bloodied, dressed as he was and looking exactly as he did in Locke's dream about the airplane.

SHANNON (CONT'D)

Boone! Help me!

boone

Theresa falls up the stairs. Theresa falls down the stairs.

SHANNON

Boone! Why won't you help me? What's wrong with you?

SHANNON spins away. She begins wheezing, an asthma attack, which continues through the rest of the scene. She is in the street. There are people around; some seem to be prostitutes or their clients, passersby. Others seem to be more intently watching her. The camera's POV and the mise en scene becomes more solid and real with each moment, as if emerging from a dream.

SHANNON (CONT'D)

Somebody help me!

A couple is watching her; we only glimpse them -- The DeGroots? Too dark and quick to know for sure. She moves from face to face, looking for help, clinging to the knees and pants of random strangers. Though nightmarish, the scene becomes increasingly verite in style -- super-real.

SHANNON (CONT'D)

(wheezing)

Help me, help me, help me.

She comes to a woman in smart black jeans, a black jacket and top. Camera pans up from her boots to reveal ANA LUCIA, smirking.

SHANNON (CONT'D)

(hoarse and whispering)

Help me, please.

ANA bends to SHANNON, cups SHANNON's chin in her hand, then looks up, and DOCTOR MARVIN CANDLE is standing behind her.

SHANNON (CONT'D)

(whispering)

Help me, help me, help me. Can't you see I'm helpless? Why is it always like this? Help me, help me... (repeats)

ANA LUCIA's smirk fades to something unreadable. She looks over her shoulder at CANDLE.

ANA LUCIA

(alert)

I thought I heard something. Did you hear something?

CANDLE's gentle smile gives way to a look of concern. Flashback F/X sound rises and we cut to...

COMMERCIAL BREAK