Cut to all the Others standing around outside their bungalows and watching Oceanic 815 get torn into several pieces and crash on the island. Ben snaps into action, sending Goodwin to infiltrate the survivors from the tail section and sending Ethan to where the front part of the plane touched down. For some reason, instead of using existing footage of this scene, they reshot it so that we never see Ethan. It's weird to hear him spoken to without actually seeing him. Instead, we get bonus footage of Goodwin and Juliet exchanging worried glances, and Harper looking kind of pissed.
Cut to Juliet and Jack running through the jungle. Except that Jack is taking the lead, despite the fact that I'm betting he's never been to the Tempest and has no idea where he's going. He doesn't understand why they haven't caught up with Daniel and Charlotte, but Juliet thinks that people who could jump out of a helicopter are not to be underestimated. And then they hear some delicate feminine moaning. It's Kate, just waking up from her Charlotte-induced nap. The look on Juliet's face when she sees Jack tending to Kate is pretty reminiscent of the look she had when Harper confronted her about the affair. Juliet runs to get some water while Jack asks Kate to tell him what happened. They tell each other things we already know, and then Jack realizes that Juliet has disappeared. Based on the way he picks up his gun, he's clearly not certain if she's ditched them or been abducted.
Back at the Barracks, Locke leads Ben (hands tied in front of him) into the living room of his own house. Locke tells him not to play any kind of tricks (like, say, shooting him), but Ben tells him they don't even need to leave the room. He directs Locke to a particular painting on the wall, behind which is a safe. And I just can't believe that, knowing there was a secret passage in the house, Locke hasn't already torn the place apart to find all the secret hidey-holes. Anyway, Ben gives Locke the combination (36-15-28), and Locke opens the safe. Inside is a videotape labeled "Red Sox." Ben: "I taped over the game." Again, it's a laugh riot up in here. Locke pops the tape into the VCR. On the television, we see shaky, handheld footage of some kind of interior parking area, filmed from above (there's a railing, indicating that the camera person is on a balcony or stairway). Our old pal Charles Widmore gets out of a limo. Ben tells Locke his name, and says that he's the guy who sent the boat.
As Locke and Ben chat, we see Widmore's men throw a blindfolded prisoner (who Ben says is one of his men, and who doesn't look like anyone we've met) on the ground in front of him, where Widmore starts to kick him. Locke asks what Widmore wants with the island. Ben: "John, three months ago in Gainesville, Florida, the Virgin Mary seemed to appear in a patch of mold on the side of an old housing complex." And my grandmother once found a potato that looked like Richard Nixon. What's that got to do with anything? Oh, I see -- Ben tells Locke that five thousand people showed up to see Moldy Virgin Mary. He thinks that far more than that would want to come to the island where miracles seem to occur on a regular basis. Ben thinks that Widmore wants to exploit the island...and I guess make money off all those potential visitors? So he wants to turn it into Fantasy Island? On screen, Widmore has finished beating his prisoner. He looks up and seems to catch sight of the video camera. The picture is replaced by static. Ben walks back to the safe and pulls out a file (which was in the safe when Locke opened it, I double checked) and tells Locke that the file contains everything he knows about Widmore. Ben apologizes for not giving the file to Locke earlier: "It was the only bargaining chip I had left." For some reason, I suspect that Ben still has enough chips to buy a whole casino. Locke tells him that he still wants one piece of information -- the name of Ben's man on the boat. Ben: "All right. But you might want to sit down." No, not you. You should get up and do something, because we're about to go to commercial, and you're never going to hear Ben's answer.