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Eko and Charlie are hard at work gathering wood on the beach. Bernard strolls up and jokes with Eko about how you bunk with a guy for forty-eight days and then he doesn't call or write, like maybe this is summer camp for Bernard or something, and Eko smiles and says hello. When Bernard asks what they're doing -- he asks that unnecessary question a lot, doesn't he? Like when you're in a video store and you run into a friend you haven't seen in a while and they say, "What are you doing here?" -- Eko says they're just working. Bernard tells them about the big sign throwdown he's putting together and how they could use all the bodies they can get. But Eko's barely got time enough to say that he's busy. Bernard tries Charlie, who says he's only got "two hands" but wishes him good luck. Bernard asks if he can at least help himself to the pile of logs that Eko has himself gathered, and Eko says he needs those. "For what, exactly?" says Bernard. Charlie tells him they're building a church. Bernard's about as impressed as I would be that they've been on the island two months and already someone's trying to bring in organized religion. "Everybody on this island is building something!" he says, whatever that means. "I'm trying to get us saved!" I did my best Eko voice and said, "So am I," which is close enough in spirit to what Eko actually does say: "People are saved in different ways, Bernard." But unless the church you're building has a distress beacon or possibly turns into an oceangoing vessel, I think I'd prefer the way Bernard wants to save people. Bernard even gives Eko this look that says, "You know what I mean, Eko." But what he says is better: "I think I like you better when you just hit people with your stick." Bernard stomps off, and Charlie helpfully says that he likes Eko just the way he is. I guess if you're going to suck up to someone, the massive guy with the big stick is as good a choice as any. But I also think that maybe Eko should try a religion that advises he not act like a dick to people.
Down the hatch, Locke is still scribbling away on his map, which must be awful aggravating without the benefit of screencaps or Adobe PhotoShop. He finally just crumples up the paper, and looks like he's going to start again, but instead he grabs his crutches and hoists himself to his feet.
He makes his way over to the armoury door. Ana-Lucia's sitting on the floor, and she's -- what is she doing? Something mechanical, it looks like. There are tools and cables and metal things. Whatever. Locke has to yell over the music that he wants to talk to Faux Henry. "The gun's with Jack. The door stays closed," she says. Locke looks frustrated, but Ana-Lucia says if he wants to talk to him, go ahead.
So Locke hobbles over to the door and knocks, "It's John, Henry." The steel-drivin' man? "Why'd you trade Johnny Damon?" yells Faux Henry from the other side of the door. Or maybe there's no response at all. Locke yell-asks if Henry entered the numbers and pushed the button or not, because he needs to know. He hammers on the door and such.