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Synopsis

Episode 3 - Orientation 
Written by Javier Grillo-Marxuach & Craig Wright 
Directed by Jack Bender 
[The apparent leader of the group, which Jin is calling the Others, knocks out Sawyer and Jin. Sawyer, Jin and Michael are dragged to a dug-out prison and dumped in.] 
MICHAEL: Where's my boy? Where's my boy? Hey, what'd you do with my boy? Do you hear me? Come back here. 
[The previous hatch scene replays again with Desmond holding a gun to Locke's head and firing a shot that almost hits Kate.] 
DESMOND: Do you want him to die? Put it down. 
JACK: Is this what you were talking about, Locke? Is this your destiny? All roads lead here. 
[FLASHBACK to Locke at an anger management group therapy-type meeting.] 
FRANCINE: My mother stole again from me this week. I don't even keep money in my purse anymore. I've been hiding it. But when she wants a drink -- she stole 30 dollars. I know it may not seem like a lot of money to some of you, but it's a lot to me. And I want it back. 
[Locke sort of chuckles.] 
MODERATOR: Something you want to say? [Locke gestures to indicate no.] John, you've been coming here for a month now... 
LOCKE: I just don't think 30 dollars is worth getting angry about. 
MODERATOR: Well, Francine feels like 30 dollars... 
LOCKE: Francine feels a little too much, if you ask me. You all do. I mean, seriously -- so-and-so never called me back -- my mother stole 30 dollars from me. I never even knew who my parents were. A couple of years ago my birth mother found me, and uh, she told me I was special. And through her I met my real father. Great news, right? Well, he pretended to love me just long enough to steal my kidney because he had to have a transplant. And then he dropped me back in the world like a piece of trash -- just like he did on the day that I was born. You want your damned 30 dollars back? I want my kidney back! 
[Locke outside trying to light a cigarette but can't. A woman from the meeting approaches.] 
HELEN: Probably a good idea. You know if you get kidney cancer you've only got one. 
LOCKE: That's funny. I'm sorry if I ruined your meeting. 
HELEN: Oh hell, you just said everything I've always wanted to say in there. Most of the time I want to stand up and scream: get over it, freaks. 
LOCKE: Well, why don't you? 
HELEN: I have to keep a cork in. Once I get all hot and bothered there's no stopping me. I guess you won't be coming back next week, huh? 
LOCKE: No, not likely. 
HELEN: Hmmm, that's too bad. I like bald guys. 
LOCKE: I'm not bald. 
HELEN: I can wait. Um, I'm Helen, by the way. 
LOCKE: Hi Helen, I'm John. 
[Back to inside the hatch.] 
JACK: Where's Kate? 
DESMOND: Lower your gun or I'll blow his damned head off. 
JACK: Where's Kate? 
[Kate lowers herself from the vent into the gun vault. She grabs a shotgun, moves up behind Desmond, and hits Desmond in the back with it. He's falls, discharging his weapon.] 
JACK [holding Desmond down]: Do not move. 
LOCKE: Now, don't... 
JACK: Don't what? 
LOCKE: He's unarmed. 
JACK: He just had a gun pointed at your head! 
[We see the computer has been shot and is smoking.] 
DESMOND: What did you do? What did you do? We're all going to die. We're all going to die. 
COMMERCIAL BREAK 
DESMOND [trying to get up]: I have to fix it. 
JACK: What the hell is he talking about? 
DESMOND: Listen, if you do not let me up, we are going to die... 
JACK: Stop moving or I swear god... 
DESMOND: Look at the wall. You see that? That's a timer. It's counting down. I've got to enter the code. I've got to push the button. 
JACK: Or what? 
LOCKE: Jack, you should let him up. 
JACK: Don't tell me what to do! [to Desmond] Or what? What's going to happen? 
DESMOND: Do I know you? 
JACK [to Kate]: You got him? 
[Jack let's Desmond up and Desmond runs to the computer to try and fix it.] 
DESMOND: Bastard. 
[Locke stares at Jack.] 
JACK: What? 
LOCKE: Nothing, Jack. 
[FLASHBACK to Helen in bed as Locke is putting on his shoes. Helen wakes up.] 
HELEN: Hey. What are you doing? Where are you going? 
LOCKE: Nowhere, I -- I just have trouble sleeping in a strange bed. [Helen looks hurt] No, it has nothing to do with you, Helen, I promise. I really like you. I'm sorry, I'll call you later. 
[Locke sitting in his car in front of Cooper's house, drinking coffee. Suddenly Cooper gets in the car.] 
COOPER: Morning. 
LOCKE: Morning. 
COOPER: John, I know you like to drive through my neighborhood. And I know that every now and then you like to park outside my house. Now, I thought it might all stop when I moved, but here you are. Now, I admit -- at first I thought it was funny -- now it's just annoying. So how about you tell me what the hell it is you want. 
LOCKE: Why? 
COOPER: Excuse me? 
LOCKE: Why? 
COOPER: There is no why. Do you think you're the first person that ever got conned? You needed a father figure and I needed a kidney, and that's what happened. Get over it. And John, don't come back. You're not wanted. 
[Desmond is looking through his bookshelf for something.] 
LOCKE [referring to the shotgun]: I don't think you need that, Kate. [to Desmond] Whatever you're looking for, maybe I can help. 
DESMOND: Can you fix a computer? [Locke shrugs] Then you can't help me, can you? 
KATE: Sayid can fix a computer. 
LOCKE: Get him. Go and get Sayid. 
JACK: Can you get back up that rope? 
KATE: I won't have to, there's got to be a front door in this place. 
DESMOND: Down the corridor to the left. Be persistent, the wheel sticks. [Desmond finds of jar] Gotcha. 
[Desmond and Locke run back over to the computer. Kate opens the front door. Jack grabs the jar off the table where Desmond set it down and holds it hostage.] 
JACK: Now, you're going to tell me what's going on. 
LOCKE: Jack, we don't have time for... 
JACK: We're taking a time out. 
DESMOND: Please, just let me... 
JACK: Look, you want to get to work -- you're going to tell me how you got here. 
DESMOND: It was 3 years ago. I was on a solo race around the world, and my boat crashed into the reef, and then Kelvin came. 
LOCKE: Kelvin? 
DESMOND: Kelvin -- he comes running out of the jungle -- hurry, hurry, come with me. He brings me down here. The first thing he does -- because there's beeping already -- he types in the code, he pushes the button, and it stops. What was all that about, I say. Just saving the world, he says. 
JACK: Saving the world? 
DESMOND: His words, not mine. So I started pushing the button, too. And we saved the world together for awhile, and that was lovely. Then Kelvin died, and now here I am all alone. The end. 
[Jack hands over the jar and Desmond tries to fix the computer.] 
JACK [to Locke]: Don't tell me you believe this. This is crazy. You think that makes sense -- pushing a button? You're going to take his word for it? 
LOCKE: His word is all we have, Jack. 
DESMOND: You don't have to take my word for it. Watch the film. 
JACK: What? 
DESMOND: The bookcase -- top shelf, behind Turn of the Screw -- projector's in the pantry. 
[Locke and Jack get the film. It says Orientation on the side of the film canister.] 
COMMERCIAL BREAK 
[Hurley playing fetch with Vincent at the beach. Then he runs to help Sayid who's lugging a crate along the beach. People are setting up camp back at the beach.] 
HURLEY: Dude, I've got to say, I didn't think we were going to get through the night. And I wasn't even here for that baby stealing part. 
SAYID: I can assure you it was very exciting. 
HURLEY: It's about time things are finally returning to normalness. 
[Kate comes running onto the beach.] 
KATE: Sayid! 
HURLEY: Crap. 
KATE: Sayid, we need your help. 
[Sawyer, Michael and Jin in the dug-out prison.] 
SAWYER [to Jin]: What do you know? What did they do to you? Who the hell are they? Who the hell are they? 
JIN: Others. [Then he says something in Korean.] 
MICHAEL: Did you see Walt? 
SAWYER: The Others? How many? How many? 
JIN: [Says something in Korean, and makes a gesture to show he was blindfolded.] 
MICHAEL: He was blindfolded. 
SAWYER: There could be a hundred of them out there. Push me up. 
MICHAEL: What? 
SAWYER: Push me up. I'm going to try and get us out of here. C'mon, help us out, Jin. 
[They push Sawyer up and he tries to open the cover to the hold.] 
SAWYER: They've got it weighted down with something. It's tied off somewhere. C'mon lift me higher. 
[Suddenly a knife pokes through the cover and Sawyer falls. The leader looks down at them and then opens the cover. Ana Lucia is thrown in, unconscious.] 
MICHAEL: It's a girl. 
[Locke and Jack set up the film.] 
JACK: You want to tell me what was going on down here before I showed up, John? 
LOCKE: Kate was tied up, Desmond had a gun on me. I think you pretty much caught the gist of it. 
JACK [whispering to himself]: Desmond. 
LOCKE: He wanted to know a lot about us -- how we got here -- if we were sick. 
JACK: You didn't ask anything about him? 
LOCKE: He was the one with the gun. 
JACK: You sure seem calm for someone who believes the world's going to end in the next 45 minutes. 
LOCKE: He'll fix it. 
JACK: You understand that what he's saying -- it's insane. It's impossible. 
LOCKE: Why is it insane? 
JACK: Because the last time I saw a computer that was going to save the world, it didn't look like that. 
LOCKE: Is the reason you're so upset because he said he recognized you? [Jack doesn't respond] Because that would be impossible. 
[The film: 
Title screen: The Dharma Initiative/3 of 6/Orientation. Then we see the image of the Swan and then the Dharma logo/Orientation/Station 3/The Swan. 
Narration: Welcome, I'm Dr. Marvin Candle, and this is the orientation film for Station 3 of the Dharma Initiative. In a moment you'll be given a simple set of instructions for how you and your partner will fulfill the responsibilities associated with the station. But first, a little history. 
The Dharma Initiative was created in 1970, and it is the brainchild of Gerald and Karen DeGroot -- two doctoral candidates at the University of Michigan. Following in the footsteps of visionaries such as B.F. Skinner [there is a jump cut/splice here] imagined a large scale communal research compound where scientists and free thinkers from around the globe could pursue research in meteorology, psychology, parapsychology, zoology, electromagnetism, and utopian social [splice] Danish industrialist and munitions magnate Alvar Hanso whose financial backing made their dream of a multi-purpose social science research facility a reality. 
You and your partner are currently located in Station 3, or the Swan, and will be for the next 540 days. Station 3 was originally constructed as a laboratory where scientists could work to understand the unique electromagnetic fluctuations emanating from this sector of the island. 
Not long after the experiments began, however, there was an incident. And since that time the following protocol has been observed: every 108 minutes the button must be pushed. From the moment the alarm sounds you will have 4 minutes to enter the code into the microcomputer processor [splice] induction into the program. When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything [splice]. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the Dharma Initiative, thank you. Namaste. And good luck. 
End screen: The Hanso Foundation, 1980. All Rights Reserved.] 
LOCKE: We're going to need to watch that again. 
COMMERCIAL BREAK 
[Locke and Helen at a restaurant. Helen puts a gift on Locke's plate.] 
LOCKE: What's that? 
HELEN: It's a present. It's been 6 months -- sort of an anniversary, right? 
LOCKE: I didn't get you anything. 
HELEN: That's okay. It only cost me a buck. 
[Locke opens the box and finds a key.] 
HELEN: It's to my place -- thought you might be tired of knocking. 
LOCKE: Oh, well, Helen. I don't know what to say. 
HELEN: There's uh, just one condition, though, John. When you stay over, you stay over. 
LOCKE: What do you mean? 
HELEN: I followed you last night -- to that house that you go to. Is it your father's house? 
LOCKE: Why would you follow me, Helen? Why would you do that? 
HELEN: Well, you sneak off in the middle of the night. I just needed to know where you were going? I care about you, John. 
LOCKE: Well, yeah, but what I do is my business. It's personal. 
HELEN: I wasted 20 years of my life being angry. I told myself I would get over it, but I couldn't do it alone. I needed to find help. You help me John. And I can help you. You just have to promise me that you're not going to go to that place anymore. 
LOCKE: Alright. 
HELEN: Alright? 
[Locke puts the key in his pocket and they kiss.] 
[Back inside the hatch. Locke is re-threading the film.] 
JACK: You're going to watch that again? 
LOCKE: Aren't you? 
JACK: No, John, I'm not. 
[Back at the dug-out prison. Ana Lucia regains consciousness and is frightened.] 
MICHAEL: Okay, okay, okay. 
SAWYER: You alright, sister? 
ANA LUCIA: Who are you? 
MICHAEL: We crashed here. We were on a plane, Sydney to Los Angeles. 
ANA LUCIA: What? 
SAWYER: 40 of us made it. 
ANA LUCIA: Flight 815? 
SAWYER: You were on it, too? 
MICHAEL: What? You were in the back? It broke off mid-air. How did you... 
ANA LUCIA: I don't know. I don't know. The plane came apart, and somebody's fricking hardside came out of the overhead and knocked me out. I woke up under water and made my way to the top -- swam to shore. 
SAWYER: You've been out here by yourself all this time? 
ANA LUCIA: Trying to find food -- making my way -- hoping to find somebody. And then, yesterday, they found me. 
MICHAEL: Who are they? 
ANA LUCIA: You tell me. 
MICHAEL: Did you see a boy? 10 years old? They took my son. 
ANA LUCIA: No, I'm sorry. I'm Ana Lucia. 
SAWYER: Sawyer. This is Mike. The quiet Korean guy is Jin. We're about to be the best thing that ever happened to you. 
ANA LUCIA: How's that? 
SAWYER: Next time Shaft opens the cage [pulling the gun out of his waistband] he's going to get a surprising little howdy-doody. 
[Desmond trying to fix the computer.] 
JACK: Are you in contact with the people that made it -- the film? Are you in contact with anyone? 
DESMOND: Do you think I'd be here if I was? 
JACK: How is it that you didn't know about the crash? About us? 
DESMOND: I push this button every 108 minutes. I don't get out much. 
JACK: So, these replacements? 
DESMOND: Kelvin died waiting for his replacements. 
JACK: You don't get out, you don't see anyone. Where does your food come from? You really think this is happening. 
DESMOND: Why wouldn't it be? 
JACK: It says quarantine on the inside of the hatch to keep you down here. To keep you scared. But you know what? We've been up there for over 40 days and no one's gotten sick. You think that this is the only part of it that's true? Do you ever think that maybe they put you down here to push a button every 100 minutes just to see if you would? That all of this -- the computer, the button -- it's just a mind game? An experiment? 
DESMOND: Every single day. And for all our sakes, I hope it's not real. But the film says this is an electromagnetic station. And I don't know about you, brother, but every time I walk past that concrete wall out there, my fillings hurt. [Clock shows 49:00] Right. [Desmond flips the switch on the computer and the power goes out.] Oh no. 
LOCKE: What happened? 
DESMOND: It's over. 
LOCKE: What do you mean, it's over? 
[Desmond fills a pack with food and the Rx bottles and injector.] 
LOCKE: What are you doing? Are you leaving? Desmond? Wait. We can fix the computer. Sayid is coming. He knows... 
DESMOND: Give him my best. 
LOCKE: Wait, wait, wait -- where are you -- you can't leave. Where are you going? 
DESMOND: As far as I can run, brother. 
[Desmond leaves, and Jack goes to follow him.] 
LOCKE: What should we do? 
JACK: Nothing. We do nothing. It's not real. None of it's real. 
LOCKE: This isn't -- this isn't what was supposed to happen! 
JACK: What was supposed to happen? 
LOCKE: Please, don't leave me here. 
JACK: Bye, John. You're on your own. 
LOCKE: Jack. 
[Jack closes the door and leaves. Locke tries to do something with the computer but knocks something on the floor.] 
LOCKE: Why is this happening like this? What do you want? What do you... What am I supposed to do?! 
COMMERCIAL BREAK 
[Helen asleep and Locke staring at the ceiling. Locke splashing water on his face and looking at his kidney scar in the mirror. Cut to him sitting in his car in front of his father's house. Another car smacks into the back of his and Helen gets out.] 
LOCKE: Helen? Helen, what... 
[Helen grabs Locke's keys out of the ignition and walks over to the gate in front of Cooper's house.] 
LOCKE: Helen, wait. Helen, don't. Helen. [She throws his keys over the gate.] Why are you doing this? 
HELEN: He's not coming out of this house, John, because he doesn't care. I know why you're here -- why you keep coming here. You're scared -- scared of moving forward -- with me, with us. You're going to have to choose. Him or me. 
LOCKE: No, no, it's not that simple. 
HELEN: Yes it is. 
LOCKE: I, I, I can't. I can't. 
HELEN: Yes, you can. 
LOCKE: No I can't! I don't know how. 
HELEN: Because you don't know what's going to happen. None of us do. That's why it's called a leap of faith, John. You don't have to be alone. 
[She stretches out her hand and Locke takes it.] 
[Back in the hatch Locke looks like he's crying. We hear Kate's voice.] 
KATE: Jack! Jack! [entering] John. 
[Hurley and Sayid enter.] 
HURLEY: Dude. 
SAYID: What is this place? 
KATE: John, where's Jack? 
LOCKE: Jack's gone. I need your help. 
[Timer shows 24:00. Kate is in the corridors looking for something.] 
KATE: What does it look like? 
SAYID: It's a breaker box. There has to be one. Follow the conduit lines. 
HURLEY: Cool, okay, great. What's a conduit line? 
KATE [pointing]: Those tubes -- follow those. 
[Hurley finds the pantry.] 
HURLEY: Whoa! 
KATE: Did you find it? 
HURLEY: Uh, depends on what you mean by it? 
[Back at the prison hold.] 
SAWYER [to Ana Lucia]: Alright, here's what we're going to do -- Jin plays dead, you call for help. 
ANA LUCIA: Sick prisoner -- are you serious? 
SAWYER: What? You got a better idea, sweetheart? 
ANA LUCIA: Where'd you get that gun, anyway? 
SAWYER: What? 
ANA LUCIA: The gun -- how'd you get it on the plane? 
SAWYER: There was a federal marshal on the plane. 
ANA LUCIA: So, what? You just happen to have his gun? 
SAWYER: Yeah, I'm lucky. Mike, let's get this thing going... 
ANA LUCIA: How come you didn't use it when they grabbed you? 
SAWYER: Gosh, I guess I was too busy getting hit in the face with a club. How come you're suddenly so interested, cupcake? 
MICHAEL: Hey! 
SAWYER: What? 
MICHAEL: C'mon, let's just -- we gotta... 
[Ana Lucia grabs the gun, elbows Sawyer in the face, and points the gun at Jin who was going for her.] 
ANA LUCIA: Back up! Back up. Coming out. Coming out! 
[The leader guy lifts the cover, lowers a rope, and pulls Ana Lucia up.] 
LEADER: What happened? Who are they? 
[He lowers the cover and ties it down.] 
COMMERCIAL BREAK 
[Desmond stumbles and falls while running through the jungle. Jack enters with his gun drawn.] 
JACK: Stop. 
DESMOND: Oh, right. The code, yeah? 
JACK: What? 
DESMOND: Listen carefully. If by some miracle you manage to get the computer working again you've got to enter the code: 4, 8, 15, 16, 23, 42, hit execute. Again: 4, 8, 15... 
JACK: Shut up! 
DESMOND: Sorry? 
JACK: Nothing is going to happen. Some man takes you down there, shows you a movie, and you push a button on, on faith alone? Nothing is going to happen! 
DESMOND: In about 15 minutes you're either going to be very right, or very wrong, brother. You want to shoot me? Shoot me. but I'm not... 
JACK: Why are you running? You don't even know what you're running from? 
DESMOND: I remember you -- running -- I know you -- I met you -- Los Angeles. I was training, yeah? You twisted your ankle... 
JACK: Stop. 
DESMOND: You're a doctor, right? There was this girl -- you were worried -- you said, you said you failed her. That was you. 
JACK: It doesn't matter. 
DESMOND: Was she okay, the girl? 
JACK: It doesn't matter. 
DESMOND: What happened to her? 
JACK: It doesn't matter. 
DESMOND: How can you say it doesn't matter? 
JACK: I married her! [Jack breaks down crying.] 
DESMOND: Right, and you're not married to her anymore, then? 
[Jack lowers his gun. Desmond goes back to get his pack.] 
DESMOND: See you in another life, yeah? 
[The timer is at 5:00.] 
LOCKE [to Sayid]: Can you fix it? 
SAYID: This man, who ever he was, replaced the motherboard. The power transformer is blown. 
LOCKE: Don't you need to know why? 
SAYID: All I need to know is that the timer is counting down to something, and that this computer needs to be repaired. I'm sure you'll tell me why once I've done so. 
[Kate finds the breaker and flips the switch. The lights come back on.] 
KATE: Found it! 
[We hear the alarm sound and see the timer counting down past 4:00.] 
HURLEY: Oh, what's that? 
LOCKE: Sayid! 
SAYID: Working on it. 
LOCKE: You have to... 
SAYID: I know what I have to do. Reconnected the processor, replaced the transformer. 
[Sayid hits the computer's on switch and it turns on.] 
LOCKE: It's on. 
KATE: Okay, so what now? 
LOCKE: There was a code. He made me enter it. 
HURLEY: What code? 
SAYID: Do you remember what it is? 
LOCKE: 4, 8... 
HURLEY: Wait a minute... 
LOCKE: 15, 16... 
HURLEY: Dude, I'm serious, stop. 
LOCKE: Hugo, this is not the time or the place. 
HURLEY: Yeah, well, I think it is. 
LOCKE: 23... 
HURLEY: What is this thing? You don't even know what it does. We need... 
LOCKE: 32... 
HURLEY: You know what? Forget it, go ahead, do your thing. 
JACK: It's not 32. It's 42. He just told me -- Desmond. The last number's 42. 
LOCKE: You're sure. 
JACK: Yeah, I'm sure. 
[LOCKE enters 42, and is about to press the execute button.] 
LOCKE: You do it, Jack. 
JACK: What? 
LOCKE: You have to do it. 
JACK: You do it yourself, John. 
LOCKE: You saw the film, Jack. This is a two person job, at least. 
SAYID: This argument is irrelevant. 
LOCKE: Sayid, don't. 
SAYID: Jack. 
JACK: No. It's not real. Look, you want to push the button, you do it yourself. 
LOCKE: If it's not real, then what are you doing here, Jack? Why did you come back? Why do you find it so hard to believe? 
JACK: Why do you find it so easy? 
LOCKE: It's never been easy! 
[The timer shows 1:04. Another, more insistent alarm starts to sound.] 
KATE: Maybe you should just do it. 
JACK: No. It's a button. 
LOCKE: I can't do this alone, Jack. I don't want to. It's a leap of faith, Jack. 
[The timer shows 0:27. Jack goes to the computer and pushes the button. The timer shows 0:01 and then resets to 108:00. Locke sits down at the computer.] 
LOCKE: I'll take the first shift. 
[The timer shows 107:00.]