Season: 1 , Episodes: 1, Faction: N/A
Hibbs was a past associate of James “Sawyer” Ford, who worked with him on the Tampa Job. Hibbs provided Sawyer with the information that the real Sawyer was a man named Frank Duckett who was residing in Australia. Hibbs was lying, however, using Sawyer to kill Duckett because he owed Hibbs money.
1×16 – Outlaws
Sawyer carried Mary Jo toward his bed as a light in the room was suddenly turned on by Hibbs in order to make his presence there known. Sawyer asked Mary Jo to go down to the bar to get a drink so he could speak to Hibbs alone, telling her he would explain later. As Hibbs began commenting on how Sawyer found such a beautiful woman, Sawyer grabbed him and pinned him against a wall, reminding Hibbs he was told he would be killed the next time Sawyer saw him.
Hibbs quickly explained he was there to make things right, to make them “even for the Tampa Job,” and threw an envelope on the table for Sawyer to examine. The envelope contained a photo of Frank Duckett, the man Hibbs explained was actually “Frank Sawyer,” the man who he said killed James’ parents.
He’s been working the wire at an off track parlor down in Sydney. Last week one of his regulars gets a little too sauced, starts running his mouth off about his glory days as a grifter. That guy, Frank Duckett. Real hard luck case – gambling addict, alcoholic, runs a shrimp truck. Back in the day this guy Duckett was quite the hustler. He ran the romance angle, hooked the wife and took the husband for all the money. He was pretty good at it, too, from what I hear. Till, sadly, one of his marks, in despair, took a gun, shot up his wife and blew his own head off. All in front of their little boy. I paid Tony to pull his jacket. Turns out Frank Duckett used to be named Frank Sawyer. A name I believe you appropriated for yourself.
– Hibbs, (“Outlaws”)
On Hibbs’ tip, Sawyer went to Australia to confront Duckett. Sawyer went to Duckett’s Shrimp Stand, and traded banal conversation while he bought a hot shrimp basket, but he left without taking the food as Duckett’s back was turned and went to a bar instead. Sawyer returned later that night with his Dutch courage, and confronted Duckett, shot him, and began reading him a letter.
Duckett, confused about being called “Sawyer,” suddenly made the connection, and as he lay dying, he told Sawyer to “tell Hibbs I would’ve paid.” Sawyer questioned how Duckett knew Hibbs, and then realized when Duckett repeated “I was going to pay,” that Hibbs had set him up to kill Hibbs and that the supposed connection to the man who killed Sawyer’s parents was a lie.
It is uncertain what Sawyer would have done in retaliation, because Flight 815, which was returning Sawyer to the United States, crashed on the Island.
Decoded Season 1 Characters
Key Episode(s) to Decoding the Character
(Shay; in Greek Psais or Psois, from addition of the definite article) Shai’s name comes from the word sha, to ordain, order, assign, settle, or decide. Possibly related words are sha’e, meaning to begin or be the first (to do something), or to originate (in both senses; sha’e m, ‘originate from’); and shau, meaning weight, worth, value, with extended uses such as n shau, ‘apt to, fit for’, and n shau n, ‘in the capacity of’. The concept of shai, which Shai personifies, is usually translated, not entirely adequately, as fate or destiny. Sometimes it is said that Shai embodies fate as opposed to what we would call ‘fortune’, with its sense of mutability, the latter being associated with Renenutet, but this seems to have little substance, and in most cases Shai and Renenutet play indistinguishable roles, save for the fact that Renenutet is firmly attested as a deity, while Shai straddles the border between deities and personified concepts.
The concept of shai is of a kind of decree, itself emanating from the Gods, but which the Gods can also overrule. Hence in a hymn to Amun (Leyden I, 350, III, 17) it is said that Amun “gives more than that which is fated [shayt] to him whom he loves.” ‘That which is fated’ refers here, as elsewhere, most immediately to lifespan, but there is a wider sense in which what is ‘fated’ for an individual is what might be expected in general or for the most part, while the Gods can offer the unexpected and the exceptional. The unexpected and the expected alike refer to the potential which lies in the personality or character. Character is destiny, the saying goes, and this was true in a particular sense for Egyptians. It is said in the “Instructions of Ptah-hotep” that “He whom the God loves, hears, but he whom the God hates hears not.” What the sage means is that the Gods grant to those they love the capacity to learn and hence to improve their character, while failure to work upon oneself brings about its punishment all on its own. Shai embodies what we might call the givens of mortal life, prominent among which, of course, is the inevitability of death, which sometimes seems to be his most distinct function, in which capacity he may be depicted accompanying the deceased at the afterlife judgment scene. In this sense, Shai is often juxtaposed with Meskhenet, both being depicted as human-headed birth bricks, Meskhenet representing birth, Shai death, but transformed into a symbol expressing the transition to the afterlife as a new birth. More commonly, Shai is depicted in nondescript human form, or as a cobra, largely as a result of the transfer to him of the iconography of Renenutet.
A fragmentary cosmology in demotic from Tebtunis in the Fayyum and dating from the second century CE speaks of ‘Pshai’ (that is, Shai, with the addition of the late Egyptian definite article at the front of his name) as existing in the beginning pa Nwn, in or as the Nun, or primordial abyss. Shai finds a place for himself to stand in the abyss, while within the waters there is also a plant which, although adrift, grows into a large thicket, eventually coming to rest at the place where Shai is; these are the reeds, upon which Shai spreads his seed, and from which in some fashion Ptah comes into existence. Ptah creates the Gods of the Hermopolitan Ogdoad, who merge to create the God Amun, from whom comes a wind which separates the sky from the earth and fertilizes an egg from which the sun emerges, an event which the text conceives as the return of Shai, who goes on to create other deities, notably Thoth, with whom Shai engages in a dialogue. It is not clear whether Shai plays a role in subsequent mythical events narrated by the text. This cosmology is unusual for placing Shai in the position of primordial creator, and he either does so in the tradition of personal creator-Gods such as Atum or as a symbol of natural, destinal forces within the abyss (see Smith 1998).
The Coptic Christian Shenoute complains in a sermon from the fifth century CE of people in the region of Panopolis (Akhmim) “saying that ‘Today is the worship of Shai, or the shai of the village or shai of the home’,” (cited in Frankfurter, p. 63), indicating that after the imposition of Christianity, worship of the old Gods was concealed beneath the terminology of anonymous ‘fates’ that were supplicated for protection and prosperity.
Shay personified destiny, and existed both as a deity and a concept. In the New Kingdom funerary papyrus of the royal scribe Ani, Shay appears in the Weighing of the Heart scene as anthropomorphic. In the book of moral and religious precepts known as the Instruction of Amenemope, one passage stresses the futility of pursuing riches by pointing out that no one can ignore Shay, i.e. what is fated. The god, as a personification of the span of years, and prosperity that a person can expect to enjoy, comes out clearly in inscriptions from the reign of the heretic king, Akhenaten in the 18th Dynasty. Here, both the king and the god Aten are described as “the Shay who gives life”.
The god frequently appears mentioned beside goddesses who have some affinity with his role, including Renenutet, Meskhenet and Shepset, a benign minor goddess worshipped mostly in Memphis. Shay coalesces in the Graeco-Roman period with Agathodaimon, the popular serpent god of fortune at Alexandria.
Shai (also spelt Sai, occasionally Shay, and in Greek, Psais) was the deification of the concept of fate in Egyptian mythology. As a concept, with no particular reason for associating one gender over another, Shai was sometimes considered female, rather than the more usual understanding of being male, in which circumstance Shai was referred to as Shait (simply the feminine form of the name). His name reflects his function, as it means (that which is) ordained.
As the god of fate, it was said that he determined the span of each man’s life, and was present at the judgement of the soul of the deceased in duat. In consequence, he was sometimes identified as the husband of Mesenet, goddess of birth, or, in later years, of Renenutet, who assigned the Ren, and had become considered goddess of fortune. Because of the power associated in the concept, Akhenaten, in introducing monotheism, said that Shai was an attribute of Aten, whereas Ramses II claimed to be lord of Shai (i.e. lord of fate).
During Ptolemaic Egypt, Shai, as god of fate, was identified with the Greek god Agathodaemon, who was the god of fortune telling. Thus, since Agathodaemon was considered to be a serpent, and the word Shai was also the Egyptian word for pig, in the Hellenic period, Shai was sometimes depicted as a serpent-headed pig, known to Egyptologists as the Shai animal. The concept of Shai’ Gar is where an adversarial deity promotes the changing of your own fate.