ФЭНДОМ



Disclaimer: This transcript is intended for educational and promotional purposes only, and may not be reproduced commercially without permission from ABC. The description contained herein represents viewers' secondhand experience of ABC's Lost.

Диалоги

Находка

(Кейт собирает фрукты в лесу, слышит шорох, кидает камень)

СОЙЕР: Ow. Son of a bitch. What the hell are you doing?

КЕЙТ: What the hell are you doing?

СОЙЕР: It's my knee. You practically busted my damn knee.

КЕЙТ: You stalking me, now?

СОЙЕР: Stalking you? I was protecting you.

КЕЙТ: From what? Southern perverts?

СОЙЕР: Yeah, whatever. I can't believe you.

КЕЙТ: It's not that bad.

СОЙЕР: It's my knee. I'll tell you how bad it is. What the hell you doing out here anyway?

КЕЙТ: Everyone's been eating a lot. This is the only place the trees aren't picked clean.

СОЙЕР: Yeah, well, you shouldn't be out here alone. Not after what happened. . .

КЕЙТ: No, I'm fine. I can take care of myself.

СОЙЕР: Oh, of course. [Mocking Kate] I don't need protection. I can take care of myself. Me Kate. Me throw rock.

КЕЙТ: Shhhh.

СОЙЕР: What? You smell blood on the wind?

КЕЙТ: You don't hear that?

(Выходят к озеру)

КЕЙТ: What are you doing?

СОЙЕР: I need to soak my sore knee. Come on, Freckles, after all we've been through on this damn island, don't we deserve something good? What? You going to say no? You some sort of navel-gazing, no-fun, mopey type?

(Заходят в воду, плывут)

СОЙЕР: Well, ... it's chilly. Come on, girl, woohoo. It's nice, huh? C'mon, what you got? C'mon, let's go up the rocks. C'mon.

(Залезают на скалу, прыгают, ныряют)

СОЙЕР: Hey, are you okay?

КЕЙТ: Yeah. Yeah, you?

СОЙЕР: Yeah, I'm going to go check them out.

КЕЙТ: Check them out for what?

СОЙЕР: See what they got on them.

КЕЙТ: Sawyer?

(ныряют)

СОЙЕР: Hey, I got myself a wallet.

КЕЙТ: You're disgusting.

СОЙЕР: He ain't gonna miss it.

КЕЙТ: Help me get that case.

СОЙЕР: Oh, I'm disgusting, but you're not?

КЕЙТ: It's mine.

(ныряют, Сойер достаёт кейс)

СОЙЕР: Wouldn't happen to have your key on you, would you? That case ain't yours, is it?

КЕЙТ: No.

СОЙЕР: Well, you wouldn't mind if I just -- take it.

КЕЙТ: I don't care.

СОЙЕР: Not what it looks like. Something you want to tell me about this little suitcase, Freckles?

КЕЙТ: Take it.

(Кейт уходит)

Записи Руссо

САИД: Everything is getting washed out to sea. This can't be normal. The tide shifting so suddenly, rising in so short a time.

ДЖЕК: There's a lot not normal around here. At the rate this beach is eroding this fuselage is going to be underwater in a matter of days. We need to get all this stuff off the beach before nightfall.

САИД: I just hope that moving up the coast will make a difference.

ДЖЕК: It would make a difference if everyone moved inland.

САИД: I think you'll find people slightly wary of entering the jungle after what happened to the pregnant girl. Not to mention whatever that thing is.

ДЖЕК: Sayid, I need you to take me back to the French woman, Rousseau. Claire's still out there. Now, Rousseau mentioned that there are others on this island.

САИД: Her mind is gone.

ДЖЕК: You heard them yourself.

САИД: I don't know what I heard.

ДЖЕК: You said that when you. . .

САИД: The wind, Jack. It was the wind playing tricks.

ДЖЕК: Okay, then, what about the papers that you took from her -- the documents, the maps. I mean, isn't there anything here that. . .

САИД: I'm skilled at mathematics and decryption, but these equations are beyond anything I've ever seen. There are these notes in French accompanying some of the maps and diagrams. If I could translate them I might be able to make sense of it, but. . .

ДЖЕК: What?

САИД: Perhaps some things are best left untranslated.

ДЖЕК: Yeah? (пока зывает на Чарли) Maybe you should tell him that.

(Шеннон и Бун)

БУН: Glad to see you're doing something productive with your time.

ШЕННОН: Where have you been?

БУН: What do you mean where have I been?

ШЕННОН: You and Locke have been leaving before sunrise and coming back after dark for the last 4 days. What are you doing out there? Is he your new boyfriend?

БУН: We're looking for Claire.

ШЕННОН: I thought there was no trail anymore -- that no one even knew where to look.

БУН: Yeah, well, at least I'm doing something. Don't you see the way they look at us around here? They don't take us seriously. We're a joke. I'm trying to contribute something. You're just -- you're useless.

Флэшбэк Кейт, в банке

МАРК ХАТТОН: Okay, Ms. Ryan, if you'll just give me some ID, we'll get started on your loan app.

КЕЙТ: Okay, here you go.

МАРК ХАТТОН: So what brings you to New Mexico?

КЕЙТ: My work.

МАРК ХАТТОН: And what line of work is that?

КЕЙТ: I'm a photographer.

МАРК ХАТТОН: What do you photograph?

КЕЙТ: I've been commissioned for a coffee-table book. Uh, pictures of old theaters in small towns.

МАРК ХАТТОН: Oh, there's a fantastic one down in Ruidoso. You can't miss it. It's right off the main road.

КЕЙТ: Well, if I end up using it, I'll have to make sure I give you acknowledgment, Mr. -- МАРК ХАТТОН:.

МАРК ХАТТОН: Mark.

ROBBERS: Everyone down on the ground. Down on the ground, now.

ROBBERS: Don't. Don't even think about it. Let's go. Shut up and move over there. Let's go. Move. Who's back there, I see you. All right, big boy, get your ass down there. Get out. [to Kate] Alright, girlie, get up and get over there. Let's go, move. Stay there, right there. Get down on the floor, bitch. Are you the manager? I said, are you the manager?

МАРК ХАТТОН: Yes.

ДЖЕЙСОН: Good. Then let's open the money cage now, before people start getting killed.

ROBBER #2: Don't look at me, look at the floor.

Первая попытка

(Кейт подбирается к спящему Сойеру)

СОЙЕР: Gotcha.

КЕЙТ: Get off of me.

СОЙЕР: Golly, I hate to bicker about positions, sweetheart. But I think you're the one on top. Maybe you're not here for the case at all.

(Кейт бьёт его головой и пытается забрать кейс)

СОЙЕР: Ow, woman. If you wanted to play rough, all you had to do was say so. You want to try for it again?

КЕЙТ: Give it to me.

СОЙЕР: No.

Саид просит помощи у Шеннон

(Шеннон загорает, подходит Саид)

САИД: We're quite close to the equator. The sun might be stronger than what you're used to.

ШЕННОН: I have a pretty good base.

САИД: There was a matter I was going to ask you about.

ШЕННОН: What?

САИД: I need a favor. I need your help translating some papers I took from Rousseau.

ШЕННОН: Who's Rousseau?

САИД: The French woman -- the distress call we intercepted.

ШЕННОН: Did my brother put you up to this?

САИД: Your brother? No. The papers contain equations accompanied by notations in French. If I could understand the notations, then. . .

ШЕННОН: Sorry, can't do it.

САИД: You're the only person on this island who speaks French.

ШЕННОН: I barely speak French.

САИД: Please, Shannon, can you at least try?

Сойер пытается открыть кейс

СОЙЕР: Son of a bitch!

МАЙКЛ: You're wasting your time, man. If you pick the lock on a Halliburton, I'll put you on my back and fly us to LA.

СОЙЕР: You better find yourself a runway, daddy, cuz there ain't a lock I can't pick.

ХЁРЛИ: What's he trying to do?

МАЙКЛ: Pick the lock on a Halliburton.

ХЁРЛИ: Good luck.

МАЙКЛ: The only way you're going to open that case is with pure force, man. Impact velocity.

СОЙЕР: What the hell is that supposed to mean?

МАЙКЛ: You've got to hit it with something hard, like a sledgehammer. Or the axe.

Бун и Локк в джунглях

ЛОКК: You got it?

БУН: [giving/throwing the axe to Locke] Yeah. Right there. Isn't there any easier way to get there?

ЛОКК: The easiest way isn't always the best. Did anybody see you take it?

БУН: No, I don't think so.

ЛОКК: Well, which is it?

БУН: Sorry?

ЛОКК: No? Or, I don't think so?

БУН: No.

ЛОКК: Good. Let's get to work.

Роуз и Чарли

РОУЗ: Hello, Charlie. [He doesn't respond.] Oh, that's right, you're not talking much these days. It doesn't mean you get to be rude.

ЧАРЛИ: Excuse me?

РОУЗ: Everybody else is helping us move the camp up the beach except for you.

ЧАРЛИ: Are you serious?

РОУЗ: Do you think you're the only one on this island that's got something to be sad about? Baby, I've got sob stories for you, so why don't you grab the other end of this thing and help me. Well?

Скорость ударного нагружения

(Сойет в лесу, открывает кейс)

СОЙЕР: Come on. Come on, god.

(забирается на скалу и кидает кейс на камни)

СОЙЕР: Impact velocity -- physics my ass. Alright. Son of a.... Unbelievable. Hey, hey, don't even think about it. Hey. Damn it.

(Кейт хвататет кейс и убегает, Сойер догоняет её)

СОЙЕР: Hell, Freckles, I knew you wanted it. I just didn't know how bad. Whoa-hoa, you're going to have to come up with a new move. Ow, god, okay, okay. Okay, this is just silly. Hold on. I've got a proposition for you. You tell me what's inside and I'll give it to you.

КЕЙТ: Are you serious?

СОЙЕР: Hell, no way to open the damn thing. At this point all I care about is satisfying my own curiosity. Whoa, easy, sweetheart, I don't really care what it is. What's burning me up is why it means so much to you. -- Last chance. Alright.

Флэшбэк, продолжение

ДЖЕЙСОН: Give me the key, now. I'm tired of asking nice. Give me the money cage key, now.

МАРК ХАТТОН: You're just going to kill me, anyway, why would I give you. . .

ДЖЕЙСОН: You think we're in a conversation, here, huh?

ROBBER #2: Everybody be cool. You want to go home? Don't look at me, look at the floor. Be calm, stay down.

ДЖЕЙСОН: Listen to me, I am not going to ask you again. I want that key.

BASEBALL HAT: I can take him.

КЕЙТ: What?

BASEBALL HAT: The tall guy, he's not watching us... It's now or never. Keep your head down.

(набрасывается на грабителя, пистолет отлетает к ногам Кейт)

BASEBALL HAT: Pick it up, pick it up. Shoot him. Shoot him. What's wrong with you, shoot the gun. Turn off the safety.

(Кейт берёт оружие)

ДЖЕЙСОН: Give me that gun.

BASEBALL HAT: Other side, turn it off.

КЕЙТ: I don't know how to use a gun.

(Джейсон выбивает пистолет из рук Кейт)

ROBBER #2: You want to get shot, fat boy, huh?

ДЖЕЙСОН: (хватает Кейт) Okay, little hero. . .

КЕЙТ: No, please don't.

ДЖЕЙСОН: Shut up. Let's you and me go talk, huh?

(швыряет Кейт в кабинет)

ДЖЕЙСОН: I don't know how to use a gun? That's classic.

КЕЙТ: Yeah.

Саид показывает Шеннон бумаги

ШЕННОН: You never said anything about math.

САИД: You worry about the French, I'll take care of the math.

ШЕННОН: I can't do this.

САИД: If you really put your mind to it, I know you can, Shannon. Where did you learn to speak French?

ШЕННОН: I knew this guy.

САИД: This guy?

ШЕННОН: In France, in Saint Tropez. I kind of lived there for a while.

САИД: Well, they say that is the best way to learn a foreign language.

ШЕННОН: Alright. Let me see.

Кейт рассказывает Джеку про кейс

ДЖЕК: So, what is this? What is this for?

СУН: …

ДЖЕК: A headache? Oh, cool, alright.

КЕЙТ: Jack? We got a problem.

ДЖЕК: We have a problem? Or, you have a problem?

КЕЙТ: Jack, you're the only one who knows about me. Before I left the city, the Marshal who was escorting me, he had this silver case. The airline wouldn't let him bring the case on the plane. It was hard enough trying to convince them to let him wear a gun on his ankle. But the case, they made him check it.

ДЖЕК: What was in the case?

КЕЙТ: Some traveling money, some of his personal stuff. And 4 nine millimeters with a few boxes of ammo.

ДЖЕК: Guns?

КЕЙТ: Guns.

ДЖЕК: So, where is the case now?

КЕЙТ: Sawyer has it.

ДЖЕК: Aha.

КЕЙТ: He hasn't been able to open it.

ДЖЕК: Lucky for us.

КЕЙТ: He will. Sooner or later.

ДЖЕК: So, what do you need me to do?

КЕЙТ: I know where the key is. The Marshal, he kept it in his wallet. In his back pocket.

ДЖЕК: I buried him, Kate.

КЕЙТ: I know. Where?

ДЖЕК: So, what else is in the case?

КЕЙТ: What?

ДЖЕК: What else is in the case, Kate?

КЕЙТ: Nothing.

ДЖЕК: That's the truth?

КЕЙТ: Just the guns.

ДЖЕК: If you want my help, we're going to open the case together.

КЕЙТ: Okay.

ДЖЕК: Okay.

Роуз и Чарли

(Чарли и Роуз идут по пляжу)

ЧАРЛИ: Why are you smiling?

РОУЗ: Am I?

ЧАРЛИ: You look -- happy.

РОУЗ: Well, I guess I must be then.

ЧАРЛИ: There's no reason to be happy, things are awful.

РОУЗ: They're not that awful.

ЧАРЛИ: We're stranded on an island. No one's coming for us.

РОУЗ: You don't know that.

ЧАРЛИ: Well, what I do know, is there's something in that jungle that eats people. Just because we haven't heard from it in a couple of weeks doesn't mean it won't get hungry again. And I know there's a person, or people, that are trying to hurt us. . .

РОУЗ: Charlie. Nobody blames you.

ЧАРЛИ: What?

РОУЗ: For what happened to Claire. It's not your fault. You did everything that you could do. And you came very close to dying yourself.

ЧАРЛИ: Maybe I should have died.

РОУЗ: You know what I think, Charlie? You need to ask for help.

ЧАРЛИ: Who's going to help me?

Могила Маршала

КЕЙТ: So, why didn't you put him with the others, when you burned the fuselage?

ДЖЕК: Because I needed to bury him.

КЕЙТ: So you ready to do this?

Флэшбэк Кейт, банк

ДЖЕЙСОН: Hell, yeah, by now their imaginations are running wild.

КЕЙТ: Don't hold back. He won't talk if the details are off.

ДЖЕЙСОН: You and your details, Maggie.

(бьёт по лицу)

ДЖЕЙСОН: Okay, hero.

КЕЙТ: No, please don't. I've got...

ДЖЕЙСОН: Shut up.

ROBBER #3: Everybody just relax. I said quiet.

ДЖЕЙСОН: Okay, Mr. Manager, you want to be a hard-ass? Protect a vault that doesn't even belong to you? Okay? There's going to be consequences.

КЕЙТ: He's going to kill me anyway.

ДЖЕЙСОН: I said... if you don't shut up. You've got 3 seconds to give me that damn key. 1, 2, 3.

МАРК ХАТТОН: Alright, I'll give it to you.

ДЖЕЙСОН: Good. Let's go, right around here. Let's go.

Ключ

(Кейт и Джек раскапывают могилу)

ДЖЕК: Okay, alright?

КЕЙТ: Compared to what?

ДЖЕК: You want me to. . .

КЕЙТ: No, I'll do it.

ДЖЕК: Did you get it?

КЕЙТ: Yeah.

ДЖЕК: Key isn't in here.

КЕЙТ: It isn't?

ДЖЕК: No, but that was real good sleight-of-hand distracting me with the wallet. Open it.

КЕЙТ: Jack, I. . .

ДЖЕК: Don't. Don't.

Шеннон переводит записи

ШЕННОН: A des reflets d'argent. La mer des reflets changeants -- the sea of sparkles? No, wait, um, the sea of silver sparkles that change. It's the same as the last one.

САИД: Are you sure? But the equation is completely different. It doesn't relate. What you're saying doesn't make any sense.

ШЕННОН: Okay?

САИД: What about this one? It should say something about latitude or longitude, something about the stars. . .

ШЕННОН: Okay, just give me some room, okay? Um, next to the pond, blue, um, blue eternity, blue eternity? No, wait, no, blue infinity.

САИД: Blue infinity?

ШЕННОН: Blue infinity. There's something about this that is so familiar.

САИД: You've been telling me what sounds very much like nonsense for the past hour and now it seems to me. . .

ШЕННОН: Okay, a) I told you that my French sucks, and b) this isn't my nonsense, okay? Did you ever think that after 16 years on mystery frickin' island your friend might not be quite adjusted?

САИД: (собирает бумаги) This was a mistake.

ШЕННОН: Yeah, haven't you heard? I'm completely useless.

Джек забирает кейс у Сойера

ДЖЕК: Sawyer.

СОЙЕР: Doctor? What can I do you for? Figured she'd get you to do her dirty work for her. So what? Are we going to wrestle for it?

ДЖЕК: No, you're going to give it to me.

СОЙЕР: Am I?

ДЖЕК: Yeah.

СОЙЕР: I'm just going to give it to you?

ДЖЕК: Yeah.

СОЙЕР: Why would I want to do that?

ДЖЕК: Cephalexin.

СОЙЕР: Yeah, go on?

ДЖЕК: That's the antibiotic I've been giving you for the knife wound in your arm. You're right in the middle of the treatment cycle now, if I keep giving you the pills you're going to be as right as rain. But I'm going to stop giving you the pills. And for 2 days you're going to think you're all good, then it's going to start to itch. The day after that the fever's going to come and you're going to start seeing red lines running up and down your arm. A day or two after that you'll beg me to take the case, just to cut off your arm.

СОЙЕР: That's a nice story, Jack. And, even if it were true, I don't think you could do it.

ДЖЕК: You're wrong.

СОЙЕР: Did she tell you what's inside? [Jack shakes his head.] Yeah, me neither. [He gives the case to Jack.] Hope you got yourself some jaws-of-life back in cave-town, that's what it's going to take to pop this bitch.

ДЖЕК: I'll figure something out.

СОЙЕР: I know you think you're doing her a favor. But however she talked you into doing this, she lied, brother.

(Джек подходит к Кейт)

КЕЙТ: Jack?

ДЖЕК: We're going to do this together.

КЕЙТ: Why?

ДЖЕК: Because that's what I said we'd do.

Флэшбэк Кейт, снова банк

ДЖЕЙСОН: What the hell you waiting for? Open the damn thing. (Управляющий открытвает дверь) Well, now we're talking. Don't move.

КЕЙТ: Please, don't. I can't. ..

ДЖЕЙСОН: Shut up.

МАРК ХАТТОН: I let you in, now please, let the girl go.

ДЖЕЙСОН: Let the girl go? Man, you have no idea, do you? The girl is the one who set you up. The girl picked this bank, picked this vault. This whole thing is the girl's idea.

КЕЙТ: What are you doing?

ДЖЕЙСОН: Easy, Maggie -- just cleaning up after myself.

(выхватывает пистолет у второго грабителя)

КЕЙТ: You shoot, I shoot.

МАРК ХАТТОН: Please, what's. . .

КЕЙТ: I said, no one gets hurt.

ДЖЕЙСОН: I know you're cold, baby. But you're not that cold.

(перестрелка)

ДЖЕЙСОН: You shot me, stupid bit. . .

КЕЙТ: Shut up, Jason.

ROBBER #2: I told you not to trust her.

КЕЙТ: [to МАРК ХАТТОН:] I need the key to safety deposit box 815, now.

МАРК ХАТТОН: Who are you?

КЕЙТ: The key to the box, now.

МАРК ХАТТОН: You need 2 keys. The bank's, and... (Кейт показывает ключ) If you had the customer key, why would you need...

КЕЙТ: I'm not on the signatory card.

ДЖЕЙСОН: You put me up to this to get into a safe deposit box? I swear to god, you better kill me, Maggie. Because if you don't...

КЕЙТ: My name's not Maggie. [to МАРК ХАТТОН:] Now, go.

(открывает ячейку и достаёт ящик)

Что в кейсе?

ДЖЕК: Anything you want to tell me? Alright then. (открывает кейс, достаёт деньги, пистолеты, патроны и конверт с надписью Personal Effects)

ДЖЕК: Is this it? Is this what you wanted?

ДЖЕК: What is it?

КЕЙТ: It's nothing.

ДЖЕК: What is it, Kate?

КЕЙТ: You wouldn't understand.

ДЖЕК: I want the truth, just this once. What is it?

КЕЙТ: It belonged to the man I loved.

ДЖЕК: The truth.

КЕЙТ: It belonged to the man I loved.

ДЖЕК: Stop lying and tell me the truth.

КЕЙТ: I'm not. It belonged to the man I killed.

Чарли и Роуз

ЧАРЛИ: Your husband was in the tail section of the plane.

РОУЗ: Yes, he was. But he'll be back.

ЧАРЛИ: You think he's still alive?

РОУЗ: I know he is.

ЧАРЛИ: How?

РОУЗ: I just do. It's a fine line between denial and faith. It's much better on my side.

ЧАРЛИ: Help me.

РОУЗ: Baby, I'm not the one that can help you... Heavenly Father, we thank you. We thank you for bringing us together tonight, and we ask that you show Charlie the path...

Шеннон вспоминает песенку

ШЕННОН: The guy from Saint Tropez, he had this kid, a real snot, who hated me. His name was Laurent. He watched this movie over and over and over again, everyday, all day, the way kids do, 900 times. It was the cartoon about fish, you know, one of the computer ones?

САИД: Why are you telling me this?

ШЕННОН: Because the movie was dubbed in French. And at the end there was this song. Those notations, they're song lyrics. And your French woman, she's just like Laurent, because she wrote them over and over and over again.

САИД: What's the song?

(Шеннон поёт)


Слова песни «La Mer», by Charles Trenent

La mer
Qu'on voit danser le long des golfes clairs
A des reflets d'argent
La mer
Des reflets changeants
Sous la pluie
La mer
Au ciel d'ete confond
Ses blancs moutons
Avec les anges si purs
La mer bergere d'azur
Infinie
Voyez
Pres des etangs
Ces grands roseaux mouilles
Voyez
Ces oiseaux blancs
Et ces maisons rouillees
La mer
Les a berces
Le long des golfes clairs
Et d'une chanson d'amour
La mer
A berce mon coeur pour la vie

Перевод на английский

The sea
which one sees dancing along the clear gulfs
to sparkles of silver.
The sea
Of changing sparkles
Under the rain.
The sea
Confuses the summer sky's fleece
With angels so pure.
The sea
Shepherdess of blue infinity.
Look!
Next to the ponds
Those tall wet reeds.
Look!
Those white birds
And those rusty houses
The Sea
Has cradled them
Along the clear gulfs.
And with a song of love
The Sea
Has cradled my heart for life.


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