Can You Lead Me to the Plane? (Have You Ever Seen the Rain?, John Fogerty)

Eko: Where did you find it?
Charlie: In the jungle. I found it in the jungle.
Eko: Take me there.
- The 23rd Psalm

I've got Creedence Clearwater Revival on the brain at the moment. Here's Eko talking to Charlie in The 23rd Psalm to the tune of Have You Ever Seen the Rain?

Can You Lead Me to the Plane?

Saw your statue in the hut. Are you a religious nut?
Oh, no. It’s a different sort of shrine.
Under Mary’s gentle grin is a stash of heroin.
I know you’re a hopeless hoarder.

I wanna know, can you lead me to the plane?
I wanna know, can you lead me to the plane
Where you found what I broke today?

I was one of many thugs who survived by running drugs.
I know Yemi scorned my life of crime.
Though I was a brutish beast, I became a parish priest.
I owed that much to my brother.

I wanna know, can you lead me to the plane?
I wanna know, can you lead me to the plane
Where you found what I broke today?

Please! I wanna know, can you lead me to the plane?
I wanna know, can you lead me to the plane
Where you found what I broke today?

She Was There (I'll Be There, Berry Gordy / Bob West / Hal Davis / Willie Hutch)

"I'm talking about spectacular, consciousness-altering love. Do you know what that looks like?" - Charlie, Happily Ever After

I've always loved the Jackson 5's I'll Be There; it wasn't until now that I realized just how much stuff was going on in the background vocally. It's a much more involved song than it initially seems. Anyway, I had to turn it into a vehicle for Charlie explaining to Desmond his experience of "what love looks like" in Happily Ever After, with Desmond chiming in now and then, along with visions of Claire and Penny.

She Was There

Charlie: Have you been in love before?
I was standing at death‘s door.
Then in my head, she was there.
(Claire: I was there.)
Charlie: As I slipped into abyss,
She appeared, and all was bliss.
Just for a moment, she was there.
(Claire: I was there.)

Charlie: I tell you,
She was there, and she was real. (Claire: I was there)
Charlie: What a rapturous blonde beauty! (Claire: With)
Charlie: And I swear that she knew me. (Claire: You.)
Charlie: She was there, but to my dismay, (Claire: I was there)
Charlie: I was revived, and she dimmed away. (Claire: With you.)
(Claire: Dimmed away, dimmed away, dimmed away...)
Desmond: That’s not true. That’s not true.

Charlie: Mr. Hume, contain your mocking laughter,
For I have seen such a sweet hereafter.
I’ll make you believe me. She was there.
(Claire: I was there.)
Charlie: She was there to enfold me.
(Claire: Yes, Charlie...)
Charlie: Never knew how that felt. No one told me.
Just for a moment, she was there.
(Claire: I was there.)

Charlie: I tell you,
She was there, and she was real. (Claire: I was there)
Charlie: What a rapturous blonde beauty! (Claire: With)
Charlie: And I swear that she knew me. (Claire: You.)
Charlie: She was there, but to my dismay, (Claire: I was there)
Charlie: I was revived, and she dimmed away. (Claire: With you.)
Desmond: No, that’s not true. That’s not true.
(Claire: Dimmed away, dimmed away, dimmed away...)

Charlie: I’m only mentioning this to you
In hopes your consciousness changes too.
You’ll find a purpose. She’ll be there.
(Penny: I’ll be there.)

Charlie: Then you’ll know what love looks like.
She’ll be there. She’ll be there.
Just for a moment,
(Penny: I’ll be there.)
Charlie: She’ll be there.

Desmond: Well, that’s poetry right there, brother!

Charlie: Yes, she’ll be there. She’ll be there.
I’ll make you believe me.
(Penny: I’ll be there.)
Charlie: She’ll be there.
Then you’ll know what love looks like.
(Penny: Desmond, I’m waiting for you.) Charlie: She’ll be there.
(Penny: Desmond, I’m waiting for you.) Charlie: She’ll be there.
Just for a moment,
(Penny: I’ll be there.)
Charlie: She’ll be there.
Yes, Mr. Hume!
(Penny: Desmond, I’m waiting for you.) Charlie: She’ll be there.
(Penny: Desmond, I’m waiting for you.) Charlie: She’ll be there...

(fadeout)

Who'll Fly the Plane (Who'll Stop the Rain, John Fogerty)

"Even if we could get on that plane, who's gonna fly it?"
- Kate, Recon


Sawyer's been laying low and plotting throughout much of the sixth season. Kate's not so sure she's on board with his plans. Here's an elongated version of her objections to him at the end of Recon, to the tune of Creedence Clearwater Revival's Who'll Stop the Rain.

Who’ll Fly the Plane

Look, I don’t remember just how the plane went down.
Wasn’t still on board when it must’ve hit the ground.
Don’t know what’s become of Frank and Ben and Sun.
So I wonder, still I wonder, who’ll fly the plane.

What did you discover when you went off to explore?
Did you learn what Widmore’s on Hydra Island for?
Your approach seems risky, possibly in vain.
Yes, I wonder, still I wonder, who’ll fly the plane.

Not so hot on stayin’, but when we get there,
How do we win over Jin and crazy Claire?
Where are Jack and Hurley? Will we strand them here?
And I wonder, still I wonder, who’ll fly the plane.

A New Color (True Colors, Tom Kelly / Billy Steinberg)

As any faithful fan of the original Star Trek series knows, unless you're Scotty or Uhura, you don't really want to be wearing a red shirt if you're serving on the U. S. S. Enterprise. The tradition of killing off redshirts has persisted throughout many subsequent science fiction series, and LOST is no exception. Usually, these minor characters don't literally wear such identifying garb. But because of the association, whenever someone does wear red, it makes people nervous. It hasn't escaped fans' attention that both Hurley and Desmond are in red shirts this season. They're much too integral to the show to actually be "redshirts". But could their fashion choices be a warning of dreadful things to come? Here's some rumination from the fan perspective to the tune of Cyndi Lauper's True Colors.

A New Color

Huggable Hurley, voice of the viewer,
It’s too early to see you get skewered.
You’re a man of the people, picked to be a Candidate.
You deserve to avoid a lowly redshirt’s fate.

So you need a new color. Change your shirt.
You need a new color before it can hurt you.
‘Cause when you wear red, the reaper’s near.
A new color, new color will calm us down.
We’re freaked out here.

You’re on this Island. Desmond, you’re rattled
That you’re back again though you’ve bravely battled.
To keep from going crazy, keep your Constant inside your soul.
Watch out for John and don’t get tossed in a hole.

And you need a new color. Change your shirt.
You need a new color before it can hurt you.
‘Cause when you wear red, the reaper’s near.
A new color, a new color will calm us down.
We’re freaked out here.

Why was Widmore bent on bringing you back?
To keep from going crazy, keep Penny inside your soul.
Watch out for John and don’t get tossed in a hole.

And you need a new color. Change your shirt.
You need a new color before it can hurt you.
‘Cause when you wear red, the reaper’s near.
A new color, new color, new color will calm us down.
You need a new color before it can hurt you.
‘Cause when you wear red, the reaper’s near.
A new color, new color will calm us down.
We’re freaked out here.

I'll Win This Race (Come Sail Away, Dennis DeYoung)

"Then I thank you, Elizabeth. And I shall win this race for love."
- Desmond, Live Together, Die Alone

I've always found the Styx song Come Sail Away a little freaky, but it's also enjoyably epic, especially since it calls to mind one of my favorite moments from Freaks and Geeks, Judd Apatow's most excellent and all too short-lived high school dramedy. Couldn't resist associating it with LOST too, as an illustration of the scene in the season two finale in which Libby offers Desmond her boat.

I’ll Win This Race

Desmond: I’m sailing a race
Sponsored by the man who belittled me.
He said I’d never be
Worthy of his daughter Penelope.
But there’s a wee problem.
I have no boat.
I’m broke, so my chances
Would seem remote,
But for my
Honor, I’ll try...
Is something wrong?

Libby: I have what you seek.
It used to be my husband’s, but he grew weak.
Poor David. He died.
He never got to sail on a Grecian tide.
Since we cannot be together,
It’s a burden now.
He’d want you to keep it,
And you have my vow:
In your care
Clearly is where
My boat belongs.

Desmond: You tell me I should take it.
I don’t know what to say,
But I’ll accept it as a sign
That love will find a way.

And so I’ll win this race, I’ll win this race,
I’ll win this race for love, lass.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love. Watch me!
I’ll win this race, I’ll win this race,
I’ll win this race for love.

Elizabeth, you’ve touched me.
Tell you what I’ll do.
I’ll win this race for Penny,
For David and for you.

Yes, I’ll win this race, I’ll win this race,
I’ll win this race for love, lass.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.
I’ll win this race, I’ll win this race,
I’ll win this race for love.

(fadeout)

My Freedom (Take It to the Limit, Don Henley / Glenn Frey / Randy Meisner)

Smokey: I want to leave. Just let me leave, Jacob. Jacob: As long as I'm alive, you're not going anywhere.
Smokey: Well then, now you know why I want to kill you. - Ab Aeterno

Smokey has one simple request for Jacob, but Jacob is not budging. Here's the two of them to the tune of the Eagles' Take It to the Limit.

My Freedom

Smokey: All alone at the end of an era.
No one left here with me except you.
I was thinking that you might have considered
What I long to do.
You know I’ve been stuck here forever.
Jacob: I don’t have to tell you why.
Smokey: Humans never will change.
Jacob: Always been worth a try.
Smokey: Well, you really must hate me.
I implore and you ignore me.
I abhor this old exchange.

I wanna say goodbye, friend.
Is that such a crime?
But Jacob, you begin it one more time.

Do you count all the lives you have wasted?
Will you waste all your life counting more?
In an eon, will I have to meet you
Again on the shore?
I’m only looking for my freedom.
Jacob: You’re not going anywhere.
Smokey: Don’t you gloat with that wine.
Jacob: No? ‘Cause I’m glad to share...
Smokey: Well, no matter what, I’m leaving.
If I have to kill, you know I will
Until escape is mine.

I wanna say goodbye, friend.
Is that such a crime?
But Jacob, you begin it one more time.
Jacob, you begin it
Jacob, you begin it
Jacob, you begin it one more time.

Jacob: Face it, I begin it
(Smokey: Please)
Jacob: Face it, I begin it
(Smokey: Let me go!)
Jacob: Face it, I begin it one more time.

Jacob: Face it, I begin it
(Smokey: Please)
Jacob: Face it, I begin it
(Smokey: Free me!)
Jacob: Face it, I begin it one more time.

Smokey: Jacob, you begin it
Jacob, you begin it
Jacob, you begin it one more time.

Jacob: Face it, I begin it
(Smokey: Please)
Jacob: Face it, I begin it
(Smokey: Free me!)
Jacob: Face it, I begin it one more time.

Smokey: Jacob, you begin it
(Jacob: No!)
Smokey: Jacob, you begin it
(Jacob: No!)
Smokey: Jacob, you begin it one more time.

(fadeout)

Take It to the Limit

Sayid's Message, (Bad Moon Rising, John Fogerty)

"The man that I met is leaving the Island forever. And those of you who want to go with him should leave the temple and join him. You have until sundown to decide."
 - Sayid, Sundown

Sayid is given an ominous message to deliver in Sundown. Here he speaks his piece to the tune of Creedence Clearwater Revival's Bad Moon Rising.

Sayid’s Message

I tried to murder that being.
I tried stabbing him to death.
I tried; it’s time for fleeing.
I tried; he still draws breath.

Don’t stick around tonight.
You’ve been ordered to take flight.
You’ll be murdered otherwise.

I hear sunset ticking nearer.
I know that switching sides will pay.
I saw visions in a mirror.
I saw who Jacob took away.

Don’t stick around tonight.
You’ve been ordered to take flight.
You’ll be murdered otherwise.

Hope you understand this warning.
Hope you accept the new regime.
Join us, and by tomorrow morning,
Terror will seem a distant dream.

Oh, don’t stick around tonight.
You’ve been ordered to take flight.
You’ll be murdered otherwise.

Don’t stick around tonight.
You’ve been ordered to take flight.
You’ll be murdered otherwise.

Hoffs-Drawlar (Hotel Caliifornia, Don Felder / Glenn Frey / Don Henley)

Funeral Director: My deepest condolences. Friend or family? Jack: Neither.
- Through the Looking Glass, Part 2

"If you do leave this place, the day may come when you want to return."
- Ben, King of the Castle


On LOST, few relationships are as complicated as the one between Jack and John. While his death brings the doctor to the brink of suicide, he can't even bring himself to identify himself as John's friend. Then again, it's hard to blame him... Here are some musings from Jack at the Hoffs-Drawlar funeral parlor in the third and fourth season finales, to the tune of the Eagles' Hotel California.

Hoffs-Drawlar

Saw your name in the paper.
I had to look twice.
I’d done too much boozing;
Maybe this was the price.
But I wasn’t mistaken.
Sometimes it stings to be right.
I made my mind up as the plane touched down.
I had to end it that night.

As I gazed at the pavement,
About to take the leap,
I felt a fierce inferno and
I heard a crunch and a scream and a beep.
Went to go play the hero
Because that’s what I do.
When I got out of the hospital,
I had to come see you.

I’m here, but I find it hard to mourn ya.
I will not pretend (I will not pretend) that I was your friend.
Sorry you’re dead, but it’s hard for me to mourn ya.
All you brought my life (all you brought my life) was a lot of strife.

You put a knife through Naomi.
I always blamed you for Boone.
You blathered on about a sacrifice...
What a goon!
You set off those explosives,
Scads of C-4.
The Flame was in flames and
The sub was no more.

All the while you insisted
I misunderstood.
You swore that every single thing you’d done was
For the Island’s good.
And when you wearied of telling me not to leave,
You encouraged the tangle of deceit
I went on to weave.

I’m here, but I find it hard to mourn ya.
I will not pretend (I will not pretend) that I was your friend.
Yeah, Jeremy Bentham, it’s hard for me to mourn ya,
With your pseudonym (with your pseudonym) and your vanished vim.

The man here informed me
That nobody else came.
Pathetic. You went out a bitter old man,
All alone and lame.
You said that we were special
And shared one common fate.
I think I might accept that now,
But I’ve found my faith too late.

Who lurks in the shadows?
Am I really seeing Ben,
And can I trust he’ll get me back
To the Island once again?
He once tried to warn me
Of the lesson I would learn:
“If you leave this place, the day may come
When you want to return.”

Hotel California

815 Sentences About LOST

My comments have been posted on the blog 815 Sentences About LOST. Check 'em out here!

Casualties Are Common (Apples and Bananas, Traditional)

On LOST, characters have a nasty habit of dying off - some of them more than once. Here's a little ditty about that to the tune of Raffi's Apples and Bananas.

Casualties Are Common

Alas, on LOST, LOST, LOST, casualties are common.
Alas, on LOST, LOST, LOST, casualties are common.

They got gunned down, down, down, Shannon, Dan and Libby.
They got gunned down, down, down, Shannon, Dan and Libby.

Somebody stabbed, stabbed, stabbed Lennon and Naomi.
Somebody stabbed, stabbed, stabbed Lennon and Naomi.

The Monster smoked, smoked, smoked Seth, Montand and Eko.
The Monster smoked, smoked, smoked Seth, Montand and Eko.

They went ka-boom, boom, boom, Leslie and Ilana.
They went ka-boom, boom, boom, Leslie and Ilana.

Who’s going next, next, next? Candidates, be careful!
Who’s going next, next, next? Candidates, be careful!

Take a Walkabout (We Can Work It Out, John Lennon / Paul McCartney)

"You know what you need, Mr. Locke? You need to go on a walkabout."
- Abaddon, Cabin Fever

Matthew Abaddon is one of LOST's more enigmatic characters. He works for Widmore, and in his first couple of appearances, he seemed pretty creepy. But in his interactions with John Locke, he's undeniably helpful. Certainly he nudged him in the right direction in Cabin Fever. Here's a song from Abaddon's perspective, to the tune of the Beatles' We Can Work It Out.

Take a Walkabout

Try to have some hope now.
You may think you’re sunk, but Mr. Locke, don’t give up yet.
If you sit and mope now,
Then instead of healing you will simply stay upset.

Take a walkabout.
Take a walkabout.

Think about a journey.
Go into the Outback and discover who you are.
Now, before you spurn me,
Let me tell you, it’s done me a world of good so far.

Take a walkabout.
Take a walkabout.

Look here, Mr. Locke.
You crushed your spine
But you had the strength to survive.
One day you will walk.
You need a sign?
How ‘bout the fact that you’re alive?

Try to have some hope now.
Anything is possible, and miracles are real.
If you sit and mope now,
You could miss the chance to make some good of your ordeal.

Take a walkabout.
Take a walkabout.

Look here, Mr. Locke.
You crushed your spine
But you had the strength to survive.
One day you will walk.
You need a sign?
How ‘bout the fact that you’re alive?

Try to have some hope now.
I believe not only will you walk, but you will run.
Don’t you sit and mope now.
You will see, and when we meet again, you’ll owe me one.

Take a walkabout.
Take a walkabout.

Smokey (Mandy, Scott English / Richard Kerr)

"She said you have to stop the Man in Black. You have to stop him from leaving the island. 'Cause if you don't... todos nos vamos al infierno."
- Hurley, Ab Aeterno

Jacob's nemesis is known by a wide variety of names, but ever since I got confirmation that he and the Smoke Monster are one and the same, I reverted to "Smokey," my old standby nickname for our cranky Island menace. Most of the characters on the show, meanwhile, stick with "Locke". Whatever you call him, he's pretty bad news. Here is a loving tribute to this unfortunate soul, to the tune of Barry Manilow's Mandy. May he remain trapped for a long, long time...

Smokey

You can come across as nice
Though your soul’s as cold as ice.
You were once a man,
But now you’re a mimic.
Sweet civility
Is half your gimmick.

Gathering your new recruits,
Going gaseous when it suits,
Keen to claim the prize
You’ve sought for cent’ries,
The hunger’s in your eyes.
It hasn’t been easy.

Oh, Smokey. Well, your name has remained an enigma,
But they're calling you Locke.
Oh, Smokey. You’re a cloud and that carries some stigma.
People can’t help but gawk. Oh, Smokey.

You’ve lingered there since ancient times,
Observing many callous crimes.
Babysitting brats and swiftly judging,
You’ve wanted to resign
And stop Jacob’s nudging.

Oh, Smokey. Well, your name has remained an enigma,
But they're calling you Locke.
Oh, Smokey. You're a cloud and that carries some stigma.
People can't help but gawk. Oh, Smokey.

If you do succeed,
Everyone suffers.
Jacob’s helpers need
Some Smokey snuffers.

Oh, Smokey. Well, your name has remained an enigma,
But they're calling you Locke.
Oh, Smokey. You're a cloud and that carries some stigma.
People can't help but gawk.
Oh, Smokey. Your name has remained an enigma,
But they're calling you Locke.
Oh, Smokey, a cloud, and that carries some stigma.
They won't heed you...

John Locke's Body (John Brown's Body, Traditional)

"I don't understand. If this is Locke... who's in there?" 
- Sun, The Incident


John Locke has suffered a great many indignities on LOST, not the least of which involves his imitation by a nefarious entity. Here's a ditty to the tune of Pete Seeger's version of John Brown's Body in which various folks outside contemplate the mystery before them. In the last verse, "John Locke" confronts Jacob and offers an answer.

John Locke’s Body

Sun: John Locke’s body lies a-sprawlin’ in the sand.
John Locke’s body lies a-sprawlin’ in the sand.
John Locke’s body lies a-sprawlin’ in the sand.
So who’s in there with Ben?

Ilana: In the shadow of the Statue,
In the shadow of the Statue,
In the shadow of the Statue,
Will evil rise again?

Frank: They knocked me out and brought me with the dead guy in the box.
They knocked me out and brought me with the dead guy in the box.
They knocked me out and brought me with the dead guy in the box.
So who’s in there with Ben?

Ilana: In the shadow of the Statue,
In the shadow of the Statue,
In the shadow of the Statue,
Will evil rise again?

Richard: When John walked into camp, he seemed a little off to me,
But I had waited fifty years to follow his decree,
And so I overlooked the artificiality.
So who’s in there with Ben?

Ilana: In the shadow of the Statue,
In the shadow of the Statue,
In the shadow of the Statue,
Will evil rise again?

Bram: Well, that crate was really heavy, and we carried it all day.
That crate was really heavy, and we carried it all day.
That crate was really heavy, and we carried it all day.
So who’s in there with Ben?

Ilana: In the shadow of the Statue,
In the shadow of the Statue,
In the shadow of the Statue,
Will evil rise again?

Smokey: Remember when I told you that I’d find a loophole, friend?
Since the two of us showed up here, you must know what we intend.
Forget your talk of progress; now at last we’re at the end.
It’s me in here with Ben.

Ilana: In the shadow of the Statue,
In the shadow of the Statue,
In the shadow of the Statue,
Will evil rise again?

Hugo, Lead On (Sweet Caroline, Neil Diamond)

"Hurley, you asked me to trust you. This is me trusting you." 
- Jack, Everybody Loves Hugo

Jack's used to taking the lead, but it's nice to see him step back once in a while, and Hurley seems like a good guy for him to trust. Here's Jack to the tune of Neil Diamond's Sweet Caroline.

Hugo, Lead On

It was a bluff.
That was apparent to me,
Though he instructed you before.
Look, I don’t care
Why Jacob cut the chatter;
Your intuition matters more.

Hey, you did say,
“Trust me, Jack.”
This is me trusting you.

Hugo, lead on. I’m with you,
‘Cause it’s time that I let go.
Richard is gone; I’m with you.
Let’s find Locke and say, “Hello.”

On my watch,
Juliet died.
Nothing I do can fix that.
Oh, how I’ve longed to nix that fall!
You’ve made mistakes,
But they have been far fewer.
Clearly you heed a truer call.

Hey, you did say,
“Trust me, Jack.”
This is me trusting you.

Hugo, lead on. I’m with you,
‘Cause it’s time that I let go.
Richard is gone; I’m with you.
Let’s find Locke and say, “Hello.”
Yes, let’s go.

Hugo, lead on. I’m with you,
‘Cause it’s time that I let go.
Hugo, lead on. I’m with you.
Let’s find Locke and say, “Hello.”
Hugo, lead on...

When the Island's Done With Us (Hard to Say I'm Sorry, Peter Cetera / David Foster)

Ben: Kinda makes you think, doesn't it?
Jack: What's that?
Ben: Ilana. There she was - handpicked by Jacob, trained to come and protect you Candidates, no sooner does she tell you who you are than she blows up. The Island was done with her. Makes me wonder what's gonna happen when it's done with us. 
- Everybody Loves Hugo



Back in Dr. Linus, Richard wallowed in despair and Ben found a new lease on life. In Everybody Loves Hugo, Ben, traumatized by the death of the woman who gave him a second chance and fearful of the future, seems to have hit a nadir. Here's Ben to the tune of Chicago's Hard to Say I'm Sorry.

When the Island’s Done With Us

Always said that getting chummy doesn’t pay,
And every day, that is clearer.
Everybody in this place is prey.
We obey; death comes nearer.

Makes you think.
The Island didn’t need Ilana,
So it tossed her away.

When our fates have been fulfilled,
Seems to me we’re getting killed,
And I’m not thrilled.
I guess you’ll say I’m a downer, Jack,
But when the Island’s done with us we’re doomed.

I admit that I feel dismay
About this play we’ve been cast in.
Do you think that we’ll be okay?
You may say there’s a chance, but it’s slim.

Makes you think.
The Island didn’t need Ilana.
An explosion was due.
Makes you think.
If that’s how it rewarded Ilana,
What’s in store for me and you?

When our fates have been fulfilled,
Seems to me we’re getting killed,
And I’m not thrilled.
I guess you’ll say I’m a downer, Jack,
But when the Island’s done with us we’re doomed.

When our fates have been fulfilled,
Seems to me we’re getting killed,
And I’m not thrilled.

Flashes of red, then fade to black.

Soulmates (Eternal Flame, Susanna Hoffs / Tom Kelly / Billy Steinberg)

"Hugo, do you believe that two people can be connected? Like soulmates?"
- Libby, Everybody Loves Hugo

Everybody Loves Hugo marked the long-awaited return of Libby, allowing for yet another romantic storyline to find a continuation in Sideways World. Here's a reflection on their first meeting, to the tune of the Bangles' Eternal Flame.

Soulmates

Libby: Do you think soulmates are real, Hugo?
Is there any good reason for the way I feel?
Do I sound insane or do you believe me?
Is our kinship only in my brain?

Recognized you on TV, Hugo,
And something stirred when I saw you, jogged my memory.
Do I sound insane or do you believe me?
I hope our kinship isn’t in my brain.

Hugo: It’s a shame. When I hear your name
And I see you smiling,
I wish that I could back your claim.
If we’d met, I would remember you...

It’s a shame. When I hear your name
And I see you smiling,
I wish that I could back your claim.
If we’d met, I would remember you...

Libby: Do you think soulmates are real?
Is there any good reason for the way I feel?
Do I sound insane or do you believe me?
I hope our kinship isn’t in my brain.

Do you think soulmates are real, Hugo?
Is there any good reason for the way I feel?
Do I sound insane or do you believe me?
Is our kinship only in my brain?

Do you think soulmates are real, Hugo?
Is there any good reason for the way I feel?
Do I sound insane or do you believe me?
Or... only in my brain?

Do you think soulmates are real, Hugo?
Is there any good reason for the way I feel?
Do I sound insane or do you believe me?
Is our kinship only in my brain?

That Dynamite (Saturday Night's Alright for Fighting, Elton John / Bernie Taupin)

"Um... I don't know if that's a good idea. I mean, for one thing, that stuff's really unstable..." - Hurley, Everybody Loves Hugo

Hurley has seen first-hand the danger of unstable dynamite. Here he issues a warning to Ilana, to the tune of Elton John's Saturday Night's All Right for Fighting.

That Dynamite

So Richard said that we’d all be dead
Unless he could destroy the plane.
I think he’s in shock, and I wanna talk,
‘Cause it’s hard to see what we would gain.
Those sticks you’re loading have a good chance of exploding
Long before we intend them to.
Our luck will decrease if you’re not in one piece -
And cease altogether for you.

Well, don’t wanna be like a broken record.
I gotta give a warning, though.
That dynamite is mighty flighty.
Any second it could blow.
Maybe if you’d got a little Arzt on you,
Then you would admit I’m right,
‘Cause that dynamite’s a fright’ning sight.
Bump it and it’s goodnight, goodnight, goodnight.
Trust me, it’s true.

I can see that you’re back, and in your pack
You’ve gathered what we need for this attack.
But you do it and our mode of transportation’s gone,
And we’re stuck here on this Island still with phony John.
Ilana, think it over before we leave.
Don’t you have something less destructive up your sleeve?
Are you looking for trouble? Well, you found it. Yes,
You use that stuff, it’ll only make a mess.

Well, don’t wanna be like a broken record.
I gotta give a warning, though.
That dynamite is mighty flighty.
Any second it could blow.
Maybe if you’d got a little Arzt on you,
Then you would admit I’m right,
‘Cause that dynamite’s a fright’ning sight.
Bump it and it’s goodnight, goodnight, goodnight.
Trust me, it’s true.

No, don’t wanna be like a broken record.
I gotta give a warning, though,
‘Cause that dynamite is mighty flighty.
Any second it could blow.
Maybe if you’d got a little Arzt on you,
Then you would admit I’m right,
‘Cause that dynamite’s a fright’ning sight.
Bump it and it’s goodnight, goodnight, goodnight.
Trust me, it’s true.

Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Say goodnight!

Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Say goodnight!

Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Dynamite, dynamite, dynamite.
Say goodnight!

“In a World of Conflict and Strife, There is But One Fact We All Can Agree Upon: Everybody Loves Hugo.”

Everybody Loves Hugo. Well, how could we not? And there was so much to love about this episode celebrating LOST‘s incredibly huggable fellow, starting with that epic slideshow narrated by Dr. Chang and featuring Jorge Garcia’s exuberant Chihuahua Nunu. Lillian Hurst was back full-force as Hurley’s doting but disapproving mom, and as usual she was a comedic tour de force. Though she was only in one scene, she made quite an impression. Poor Hurley; Carmen is gonna be nagging him to get a girlfriend no matter how successful he is. It’s a mom thing.

I made a few deductions from the early portion of the episode that may or may not be true. There was no mention of David Reyes in the episode, which suggests to me that he is not a part of their life, especially since Carmen is so cranky; she seemed to mellow out a bit after he came home. She did mention Tito, however, and I got the impression from the context that Hurley’s grandpa is still very much alive, and possibly partly responsible for this fix-up. So win some, lose some, I guess. He also apparently lacks his nickname.

Additionally, there was no mention of how Hurley acquired his money. I almost forgot that he mentioned winning the lottery back in LA X. But he’d never been in a mental hospital before, so he didn’t play the numbers that he heard from Leonard. He also wasn’t partly responsible for a deck accident that killed two people. Except for his father’s absence - which isn’t even a sure thing - his life has been much happier, and his money, far from cursing him, has simply allowed him to share happiness with others, which is what he always wanted.

It was good to see Libby again, even if it was in the Sideways world, which means we haven’t really learned anything about her Island incarnation. Hurley and Libby was a relationship that was never really allowed to develop; this episode made me appreciate the sweetness of their friendship more than ever before. It felt like they were just picking up where they left off, to the tune of some of the loveliest variations on Hurley’s theme music Michael Giacchino has ever given us. This time, Libby was the one whose sanity was in question, but in both cases, Hugo found it hard to believe that someone like her could actually like someone like him, and a kiss had to bring him to his senses. Lovely.

Before this episode, I had the sense that Hugo probably was attuned, which was the same sense I got from Desmond on the plane. But despite his general serenity and helpfulness, he was completely unaware of the Island world. All Libby had to do was see him on TV; the memories didn’t come back to Hugo until they kissed. Also, I watched the episode three times, and I didn’t see a mirror moment. Did I just miss it?

Hugo at the Chicken Shack was the surliest I can ever remember seeing him - and boy, can he go through the chicken! It was weird to see him barking at Desmond - and at the cheery cashier played by none other than Neil from Freaks and Geeks. Very brief appearance, but I got a kick out of it. Can’t you just imagine Hurley hanging out with Neil, Sam and Bill, talking Star Wars and Steve Martin? His age isn’t quite right, but on a show with so many temporal anomalies, I can overlook that...

I’ve always found the Santa Rosa doctor slightly creepy, but when your main sympathies are with the patient I guess that makes sense. There’s really no reason to think badly of him, especially since in this episode he did allow Hugo to see Libby. Because Hugo bought him off, but still... it isn’t as though he knew she wasn’t crazy and that’s why he was keeping her away from him. I don’t think. Though it was odd to see that massive island picture in his office...

Sideways Desmond continues to be incredibly smooth, gliding around town in his slick jacket and Bono-cool shades. I loved his conversation with Hurley, his jocular camaraderie, his subtle way of guiding the conversation in the direction he wanted. He had, of course, been waiting for him, though one wonders if he’s spent the past several days hanging around Mr. Cluck’s hoping the boss might show up. Or did he follow him there? Either way, Desmond seems to have a very odd knowledge of where people will be and when. Or he’s just really good at spying on people. I would think it would have been even harder to find John.

In any event, this incarnation of Desmond is charismatic and purpose-driven, rather like the Desmond who advised Jack back in Island world. He’s also a little unsettling. I got a smile out of him pushing his glasses up with a “job well done” expression as he observed Hurley’s consciousness breakthrough, but it also seemed a tad voyeuristic. No wonder Dr. Benjamin “Perv Police” Linus tapped on his window with that stern Professor McGonagall expression. He thought he was up to no good. But he had no idea just what sort of no-good he was up to. At least Ben was right there on hand to run to John’s rescue, even if they’re not quite on first-name terms yet. Speaking of names, did Desmond know his son's name before that moment, or did it just come to him, like "Aaron" did to Claire? Or did he just say the first name that popped into his mind - the name of the man responsible, in this world as in Island world, for setting him on the path that led to Penny?

One wonders how Desmond can continue with his mission now that he’s wanted for attempted vehicular homicide. Methinks his job just got a lot harder. Also: Hugo got off really easy. All he had to do was kiss the girl of his dreams. John had to go through yet another near-lethal accident. What made Desmond so sure he would even survive it? But survive it he did, it seems, and in his eyes is the glint of revelation. Might there be a mind-body connection that will allow Sideways John to begin to regain use of his legs?

It’s appropriate that Desmond did something horrible (albeit probably enlightening) to John in the same episode in which “John” did something horrible (albeit possibly enlightening) to Desmond. I’m certain that Sideways Desmond’s intention was to make John aware of his other self; I’m equally certain that Smokey merely meant to get Desmond out of the way. (I noticed that Desmond, unlike everybody else that we’ve seen, actually took the hand Smokey offered him. Did that give him license to physically harm him?) I don’t believe that falling in the well is going to kill Desmond, and I think he may just find an answer or two down there, even though those who dug it didn’t.

Desmond is such a happy little zombie on the Island, so different from grouchy zombie Sayid. He’s so eerily unflappable, always with a smile on his face, always with a calm, wise response to Smokey’s questions. He seemed very surprised when Desmond serenely said, “Of course. You’re John Locke.” Does he really think that? I don’t suppose anyone told him otherwise, and John and Desmond were friends. Desmond was being entirely cooperative, so was it really necessary for Smokey to dispose of him?

Well, yes, I suppose he was still a liability. But when he asked why he wasn’t afraid of being out alone in the jungle with him, did Desmond realize at that point that he wasn’t dealing with John Locke? Crumpled at the bottom of the well, is he just thinking Locke went nuts? That’s certainly happened before. Both Sayid and Desmond noted the pointlessness of a particular course of action. Sayid said he didn’t see the point in killing Widmore’s goons; Desmond queried, “What’s the point in being afraid?” Of course, the point in being afraid is that it puts you on your guard so that you are just as aware as everybody watching at home that “John Locke” is about to throw you down a well. But there’s a curious sort of detachment evident in both Sayid and Desmond now, it’s just manifested in different ways.

Hurley stepped up into a leadership position again this week. He’d been kinda laying low since Ab Aeterno. I thought that after their profound shared experience, Richard and Hurley would be very much on the same page. I certainly didn’t think they’d form separate factions. But Richard has a one-track mind: blow stuff up. Isabella didn’t give him specific instructions, but just as Taller Ghost Walt’s ambiguous advice inspired John to knife Naomi, Isabella’s “You have to stop the Man in Black” made Richard want to take drastic action. Jacob assured Ilana that Ricardus would know what to do, but he’s just making it up as he goes along. “Jacob isn’t telling us what to do because Jacob never tells us what to do,” Richard says pointedly, calling Hurley’s bluff. Jacob, now would be a good time for you to show up.

I really thought he and Hurley might have a chat tonight, though I could tell that Hurley was making it up when he played the Jacob card. His name has been invoked on many occasions by everyone from Richard and Ben, but genuine intervention is pretty rare. I also found it interesting that Hurley revealed he had never spoken to Ghost Libby. Initially that was what I figured, given AnaLucia’s “Libby says hi,” but since Hurley mentioned her to Jacob in the cab I wasn’t sure. We did get a conversation with a ghost, however, and that was Michael.

This visitation seemed slightly different from the others. For instance, there were the Whispers. Have Whispers ever accompanied another appearance of a ghost to Hurley? Not that I recall. Is it possible that Michael is in some way bound to Smokey? Also: After all this time, it appears that we’re being told that the Island is Purgatory after all... While I don’t think Michael intended to harm Hurley and the others and I definitely believe his remorse was genuine, it seems awfully convenient that after Michael’s nudge, Smokey wound up with everybody he needed walking right into camp. Well, everybody save Jin, and he’s not exactly a sure thing. Of course, just because they’re all together now doesn’t mean that the three remaining Candidates will go with him. I think Sun could possibly be swayed, but I can’t see him snagging Jack or Hurley. As for Frank, I think he will be flying that airplane in the finale. I don’t know who will be on board, but I feel fairly confident it won’t be Smokey. And it probably won’t be Richard, either. I share his sentiments that Jack shouldn’t have promised Sun she could leave on the plane, but then Jack does have a habit of making promises he’s ill-equipped to keep.

Jack, who has demonstrated such faith throughout the season and who once again let Hurley take the lead tonight, even though he could tell that he wasn’t speaking on Jacob’s behalf. Jack trusts Hurley, and indeed, if there’s one person on the show I would be most likely to trust, it would be Hurley. Jack trusts him more than Hurley trusts himself, but it turns out our burly buddy can be very authoritative when the occasion calls for it - say, when he’s cutting Richard down to size or setting negotiation terms with Smokey. It will be very interesting to see how both Hurley and Jack handle this confrontation with their smooth-talking nemesis. Also, Jack and Claire are about to reunite at last, and Jack can finally tell her about their familial connection. How might that shake things up?

The biggest shock of the episode when Ilana getting blown to smithereens. I suppose I should have seen it coming. She was being entirely too cavalier with those sticks of dynamite, and I recall saying something to that effect, worrying that somebody was going to get hurt. But I honestly thought that Ilana was too important to pull an Arzt. I thought we might even get a full-fledged flashback for her. I did not expect her to go up in flames with a sudden ferocity that made me do a triple-take to be sure of what I just witnessed. The Black Rock was less shocking; Hurley definitely had an up-to-something air about him when he changed course, and when he was absent as Richard was giving his instructions, I had a pretty good idea that he was off detonating massive quantities of dynamite. But Ilana?

It all happened so quickly, while Ben’s chilling reflection unfolded slowly, allowing us to turn each unsettling word over in our minds. “Kinda makes you think, doesn’t it? Ilana, there she was, hand-picked by Jacob, trained to come and protect you Candidates. No sooner does she tell you who you are than she blows up. The Island was done with her. Makes me wonder what’s gonna happen when it’s done with us.” Ben’s faith seems to have been shaken. By the end of the episode, he’s back together with Richard, along with Miles, embarking on a plan of attack that could conceivably lead away from redemption. But I’m counting on LOST not giving me that kind of whiplash.

Mysterious Jungle Boy reappeared tonight, looking more impish than before and much older. While he certainly looks like the same child, his appearance is markedly different, particularly his darker hair, and there was a strange Peter Pan-ish gleam in his eye tonight. Last time he seemed there to scold, this time to gloat, a habit of Jacob’s that Smokey despises. This child seems more and more likely to be Jacob himself, though it’s unclear why some can see him and some can’t and how his ghost fits into all of this. Hurley took his remains with him when they left the camp, but has Jacob already risen from the ashes, to be fully revealed next week in fulfillment of Doc Jensen’s Easter prediction?

The preview for next week’s episode was disorienting and terrifying. That scene from Willy Wonka and the Chocolate Factory remains one of the scariest I’ve ever seen. I haven’t studied the preview too closely to try to figure out what might be coming; I don’t mind flying mostly blind. I do have a title: The Last Recruit. My thought was that this might refer to Jin, who is the only one missing from Smokey’s camp, and certainly he could be Desmond’s last recruit as well. But I’ve been informed that it will instead focus on Jack, which I find rather curious. Since Jack is already in Smokey’s camp, the implication I get from this is that Jack is the final holdout, the one person he has to wear down. Don’t know if I buy that, though; I really cannot imagine Hurley caving.

Sideways World makes more sense; this could be his chance to operate on John and perform his miracle surgery, and as the Man of Science and the Man of Faith meet, their roles now apparently reversed, he too will have a revelatory moment. At least, that’s one possibility. We may also find out who David’s mother is. And can we get a repeat performance from Daniel? Pretty please? Anyway, the next two episodes have companion titles if ever I heard them, and the one after that is downright alarming.

The second-to-last episode is the only one whose title I haven’t seen; I think I read somewhere that the name alone is mind-blowing, which is intriguing indeed. I have no idea what that title might be, but I hope the contents include Walt, Aaron, Rose, Bernard, Vincent, Jacob and, at long last, Smokey with his proper name. Just a few suggestions. And I hope it doesn’t get too oppressively depressing for me. All of the actors seem to be promising heartache. Troubling... Here’s hoping for more Picnics on the Beach and fewer Exploding Good Guys.

Getting Harder (Getting Better, John Lennon / Paul McCartney)

"Desmond. I know... it's getting harder."- George, The Constant

The Constant, one of my favorite episodes of LOST, focuses on Desmond's experience of being unanchored in time, but George Minkowski, the communications officer on the freighter, is going through the same thing as Desmond and is thus able to empathize and give him an idea of what to expect. Here, to the tune of the Beatles' Getting Better, George and Desmond compare notes.

Getting Harder

George: It’s getting harder all the time.

No fun on a ship when it’s moored.
(Desmond: Hey, what happened, mate?)
George: Easy for us to get bored.
(Desmond: So what happened, mate?)
George: My buddy and me set out to sea,
Thought it was time we explored.

Hey, Desmond, I know. It’s getting harder,
(Desmond: Harder)
George: A little harder all the time.
(Desmond: When will I jump next?)
George: Hey, Desmond, I know. It’s getting harder.
(Desmond: Harder)
George: It’s getting hard not to lose your mind.

My friend had a panic attack,
So we turned around and came back.
Went out of his head, then Brandon was dead,
And now I’m the one out of whack.

Hey, Desmond, I know. It’s getting harder,
(Desmond: Harder)
George: A little harder all the time.
(Desmond: When will I jump next?)
George: Hey, Desmond, I know. It’s getting harder.
(Desmond: Harder)
George: It’s getting hard not to lose your mind.
Getting so much harder all the time!

George: It’s getting harder all the time.
Desmond: Harder, harder, harder.
George: It’s getting harder all the time.
Desmond: Harder, harder, harder.

George: One minute I’m strapped to a table.
Then I’m on a Ferris wheel, feeling as free as a bird.
This is bizarre, but I’ve made it so far.
Can you get it to stop? Say the word.

Yes, I know it’s getting harder.
(Desmond: Harder)
George: A little harder all the time.
(Desmond: When will I jump next?)
George: Desmond, I know it’s getting harder.
(Desmond: Harder)
George: It’s getting hard not to lose your mind.
Getting so much harder all the time.

It’s getting harder all the time.
Desmond: Harder, harder, harder.
George: It’s getting harder all the time.
Desmond: Harder, harder, harder.
George: Getting so much harder all the time.

Sawyer's Threat (Good Luck Charm, Aaron Schroeder / Wally Gold)

"You harm so much as one hair on his curly head... I'll kill you."
- Sawyer, The Shape of Things to Come


The Shape of Things to Come is one of my all-time least favorite episodes of LOST, but I love the scene in which Sawyer demonstrates such concern for Hurley's well-being. Here he addresses John to the tune of Elvis Presley's Good Luck Charm.

Sawyer’s Threat

Beware, and John, prepare to die!

Don’t want him on your mission.
Why did he say he’d go?
I can’t force him to change his course,
But I think you ought to know

You’d better not intend to do him harm
Because I won’t be shy.
Yeah, if you harm one hair
Upon his head, beware,
And John (and John), prepare (prepare) to die!

I never heard of Jacob.
How can he help us now?
But what the heck? Go and take your trek.
Just don’t forget my vow.

You’d better not intend to do him harm
Because I won’t be shy.
Yeah, if you harm one hair
Upon his head, beware,
And John (and John), prepare (prepare) to die!
Beware (beware), and John (and John), prepare to die!
And John (and John), prepare (prepare) to die!

See, Hugo’s a better buddy
Than either of us has earned.
They broke the mold with his heart of gold,
So don’t let him get burned.

You’d better not intend to do him harm
Because I won’t be shy.
Yeah, if you harm one hair
Upon his head, beware,
And John (and John), prepare (prepare) to die!
Beware (beware), and John (and John), prepare (prepare) to die.
And John (and John), prepare (prepare) to die!

I'll Search for Sun (Here Comes the Sun, George Harrison)

"I can't leave. Sun could be here somewhere."
- Jin, Recon


Sawyer is anxious to leave the Island, but Jin's first priority is finding his wife, as he explains to the tune of the Beatles' Here Comes the Sun.

I’ll Search for Sun

I’ll search for Sun till I find her.
I’ll search for Sun. Without her,
I won’t leave.

Listen, Sawyer, you want to get off of this Island.
Listen, Sawyer, I hope I’m making myself clear.
I’ll search for Sun till I find her.
I’ll search for Sun. Without her,
I won’t leave.

Listen, Sawyer, both of us know how big this place is.
Listen, Sawyer, I don't care if it takes all year.
I’ll search for Sun till I find her.
I’ll search for Sun. Without her,
I won’t leave.

Sun, Sun, Sun, here I come.
Sun, Sun, Sun, here I come.
Sun, Sun, Sun, here I come.
Sun, Sun, Sun, here I come.
Sun, Sun, Sun, here I come.

Listen, Sawyer, that isn’t Locke and I don’t trust him.
Listen, Sawyer, it’s getting scary around here.
I’ll search for Sun till I find her.
I’ll search for Sun. Without her,
I won’t leave.
I’ll search for Sun till I find her.
I’ll search for Sun.
I won’t leave.
I won’t leave.

God Help Us All (God Only Knows, Brian Wilson / Tony Asher)

Ben: What happens if I can't get them all to come back? Eloise Then God help us all.
- The Lie

Eloise and Ben don't seem to like each other very much. Here, to the tune of the Beach Boys' God Only Knows, she tries to impress upon him the urgency of his mission.

God Help Us All

I saw you light that candle.
So, is this job too much to handle?
Are six recruits too many?
Good gracious, have you got any?

God help us all if you don’t collect them.

In seventy more hours,
We’ll have to trust in higher powers
If your talent still proves lacking.
Come on, Benjamin, get cracking!

God help us all if you don’t collect them.

God help us all if you don’t collect them.

In seventy more hours,
We’ll have to trust in higher powers
If your talent still proves lacking.
Come on, Benjamin, get cracking!

God help us all if you don’t collect them.
God help us all if you don’t collect them.
(God help us all if you don’t collect them.)
God help us all if you don’t collect them.
(God help us all if you don’t collect them.)
(fadeout)

You Need Love (Give Me Love, George Harrison)

"I feel sorry for you, mate. You think you're happy. You think you've got it all - this, your life. But, you don't."
- Charlie, Happily Ever After

In Happily Ever After, Sideways Charlie advises Desmond that his life is meaningless without "spectacular, consciousness-altering love". Here he imparts his wisdom to the tune of George Harrison's Give Me Love.

You Need Love

You need love.
You need love,
Not a one-night stand.
You may think
That the world
Is at your command,
But I know
And I’ll show you
Just where you’re wrong.
Thanks to me,
You will see
Where we both belong.

Mr. Hume…

You’ll forget about cash
The moment this car crashes.
Won’t you heed your flashes?

You need love.
You need love,
Not a one-night stand.
You may think
That the world
Is at your command,
But I know
And I’ll show you
Just where you’re wrong.
Thanks to me,
You will see
Where we both belong.

Mr. Hume…
Won’t you heed your flashes?

You need love.
You need love,
Not a one-night stand.
You may think
That the world
Is at your command,
But I know
And I’ll show you
Just where you’re wrong.
Thanks to me,
You will see
Where we both belong.

You need love.
You need love,
Not a one-night stand.
You may think
That the world
Is at, is at your command,
But I know
And I will show
Just where you’ve gone wrong.
Thanks to me,
You will see where
We both belong.

Widmore's Whiskey (Nancy Whiskey, Traditional)

Desmond: What kind of whiskey is that?
Charlie: It's, uh - it just says MacCutcheon.
Desmond: Alright then, let's have it!
- Flashes Before Your Eyes

In Flashes Before Your Eyes, Desmond wants to lay off the booze, but he'll make an exception for MacCutcheon whiskey. Here's a reflection by him to the tune of the Irish Rovers' Nancy Whiskey.

Widmore’s Whiskey

Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

I was a sailor, a restless sailor.
I was a soldier, a silent monk…
Even tried to be a doctor.
I always wound up a raving drunk.

Is that whiskey, whiskey, Widmore’s whiskey?
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

In an ancient monastery,
Hiding from my intended wife,
I imbibed the wine we bottled,
So I got sacked from monastic life.

Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

As I was leaving, I met a woman.
Before that woman, I had no base.
She became my guiding vision.
Penny Widmore, my saving grace.

Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

I went in to see her father,
A man of aristocracy.
He poured a bit of his prized MacCutcheon
Just to say it was too good for me.

Is that whiskey, whiskey, Widmore’s whiskey?
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

I was a sailor, a restless sailor.
I drank so much that I thought I would drown.
I’m going sober, clean and sober,
But that’s MacCutcheon, so pass it down.

Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.
Whiskey, whiskey, Widmore’s whiskey.
Whiskey, whiskey, pass it down.

Nancy Whiskey

Penny Milton (Pretty Woman, Roy Orbison)

Desmond: I don't know...I don't know what I felt.
Daniel: Yes, you do. You felt love.
Desmond: That's impossible, because I don’t know anything about this woman, I don't know...I don't know where she is. I don't even know if she exists. She's...she's an idea.
- Happily Ever After

Desmond and Penny are fated to find each other, but there always seem to be complications. Here, Sideways Desmond battles Eloise before getting some help from Daniel about Penny's whereabouts, to the tune of Roy Orbison's Pretty Woman.

Penny Milton

Desmond: Penny Milton. That’s the name they said.
Penny Milton. But is it in my head?
Penny Milton.
I have to struggle to understand
The words I saw on Charlie’s hand.
Penny...

Penny Milton. Could it really be?
Penny Milton. Is she the one for me?
Penny Milton.
I need some answers, Eloise.
Let me see that guest list, please.
Now!

Eloise: Penny Milton? Just forget.
Desmond, you’re not ready yet.
Your arrival is a threat to me.

Desmond: Penny Milton. So surreal,
And I can’t conceal my zeal.
Penny Milton, now revealed to me.
But this Penny, does she exist?
Would it be crazy if I persist?

Penny Milton. I’m losing steam.
Penny Milton. Is she a dream?
Penny Milton. I know what I feel. It’s real.
But am I chasing a mere ideal?

Daniel: Now there’s no reason for such gloom.
She’s my half-sister, Mr. Hume.
Take it from me.
I can tell you where she’ll be.
Yes, I know just where she’ll be.
You’ll find Penny Milton.