Chapter Text

PREVIOUSLY, ON LOST...

[Some soft, sentimental music of “Parting Words” playing. From 6.17 The End, a clip of Ajira 316 lifting off of the Hydra Island runway and into the air.]

[A clip of Kate, Claire, Sawyer, and Miles’ expressions each in reaction to the plane lifting off.]

[A clip of Kate on the Hydra beach as Claire sits]

KATE: Claire, come on, please!

CLAIRE: I can’t!

KATE: Why?!

CLAIRE: Look at me! This Island’s made me crazy…-

KATE: -...you’re not alone. Let me help you. Come on, let’s go.

[A clip of Jack and the Man in Black in Locke’s form struggling on the stormy cliffside with some music from their fight scene, when Kate suddenly emerges and shoots him.]

KATE: I saved you a bullet!

[Jack kicking the Man in Black off the cliff, and he falls to his death.]

[A clip of Kate and Jack at the cliffside, with some music from “The Long Kiss Goodbye” playing.]

JACK: Kate… you gotta go. -

KATE: Tell me I’m gonna see you again.

[Jack shakes his head. They kiss each other.]

[Jack with his hand on Hurley’s shoulder, standing outside the cave to the Heart of the Island, Ben standing close by.]

JACK: -if someone has to take care of the Island, if someone has to protect it, then it should be you. - Hurley, I believe in you.

[A shot of Hurley’s saddened expression.]

[Then Hurley drinking the Oceanic bottle, with Jacob’s theme playing.]

HURLEY: Is that it?

JACK: [smiling] Now you’re like me.

[Hurley and Ben sitting outside the glowing cave. Some of the “Credit Where Credit Is Due” theme playing.]

HURLEY: Jack’s... gone… isn’t he?

[Ben nods.]

HURLEY: What the hell am I supposed to do?

BEN: I think you do what you do best. Take care of people.

HURLEY: -Will you help me, Ben?

BEN: … I’d be honored.

[A shot of Hurley’s nod.]

[From The New Man In Charge epilogue, Ben and Walt in the DHARMA van while Hurley sits in the back.]

WALT: I kept hoping someday somebody would come back for me. I thought I was crazy.

HURLEY: You're not crazy, dude. Not even close. You just need to get back to the Island, that's all.

[From 2.03 Orientation, Dr. Marvin Candle on the orientation film, with more suspenseful music.]

MARVIN CANDLE: The DHARMA Initiative was created in 1970, and it is the brainchild of-

[From 5.16&17 The Incident, a few shots of the DHARMA personnel reacting to the destruction from the Incident at the Swan site, the music a bit more haunting, as Marvin Candle’s line from 2.03 continues.]

MARVIN CANDLE: (voice over) -Hanso, whose financial backing made their dream of a multi-purpose social science research facility a reality.

The screen turns black.

Episode 7.01: Another

The screen is dark for a second. We hear the sound effect of suction of something swinging open (0:00 - 0:03), followed then by a thudding sound effect as the darkness cuts to a subject: not one, but two green eyes -- suddenly swinging open, the subject’s right eye with a glint of sunlight reflecting, the left eye shaded.

We then see a full view of the subject’s freckled face: it is Kate Austen. She is gasping for air, her expression betraying a feeling of startlement at her surroundings. Her head is resting on a leafy surface. Her dark brown hair is soaking wet. Michael Giacchino’s developing musical motif almost sounds familiar - we first think we’re hearing “ The Eyeland ” which played both times Jack first awoke - but what we’re hearing now seems to be an almost inverted version on some beats.

We then see what is in her view: a lush but pale canopy of trees. But these are not bamboo trees as we would expect, but rather palm trees. We also notice that something about the environment or cinematography feels that its color has been filtered with a faint tint of gray or silver. This gray look seems to carry the environment of this island everywhere.

We now get a wider look on Kate as the camera pans away from her, showing her fully on the ground. Not just her hair, but her whole body, and her clothes (dark shirt and blue jeans) are soaking wet. She turns her gaze to her left, and she and we curiously see a glimpse of what looks like some kind of clutter of gear, including a mask and a cylindrical tank, lying next to her -- we hear the soft hint of the eerie mystery motif from the Pilot episode.

Kate turns her attention away from the oddity, already herself understanding it, as she quickly pulls herself to stand up among the trees, as she looks with a disgusted apprehension and a reluctant determination at the paling gray surroundings around her. The music picks up in its suspense.

Kate urgently runs through the jungle environment, pulling herself past tree trunks and branches. Her instincts turn to call out the first person she feels urged to protect.

KATE: CLAIRE! …Claire!

She continues to run for a bit, before stopping within another surrounding of trees. Then she calls out to the next name that comes to mind, in a tone of one seeking help.

KATE: HURLEY!

She looks around, anxious and apprehensive, as the music softens momentarily. Her next name is shouted more softly as she begins to realize she is alone.

KATE: James!

The camera spins around the surrounding trees as the music drones hauntingly, Kate turning and looking around for a sign of someone, anyone. She then freezes with a loud crack of thunder from above.

Kate proceeds to resume her hurry through the forest, the music once again building in a frightful suspense, as rain begins to drop, steadily building with each step Kate takes in her run.

Suddenly, we are at the edge just outside the forest as we see her burst out of the trees, stopping before what seems to be the edge of a clearing which is mostly behind the camera’s view. She is now standing in front of the forest and facing towards us at the clearing while we face staring back at her with the clearing behind us.

She holds herself upright steadily but panting in the frantic situation, rainfall getting heavier. But her expression then changes to one of a minor surprise as she stares out. A minor surprise to her as she is ultimately indifferent to what she sees, but a larger surprise to us: the camera pulls away from where Kate is standing and turns out to face the clearing, so we may see what she is seeing, with a musical horn getting steadily louder until at last we see it.

The camera slows to give us a nice look at the scenery ahead: a view off of the island. But we don’t see the ocean. We see three other isles and a gulf. We realize that we can to some extent get a good view across each of the other three, and we realize that all of them, as well as likely the one that Kate is on right now, are rather small, small enough to be called islets. All four of them are close together, with fleeting signs of some paler green nature and some monochrome industry, and with a passage of water neatly aligned between each islet. The overall shape of the layout is reminiscent of four pizza slices. They are all pointing towards the small gulf of water in the middle.

This visual demonstration then hits us with the revelation, as it was observed by Kate a moment ago, that this is not the same Island we knew. We are now on a different island altogether.

The rain is now storming heavily and loudly, as we see it pouring down on Kate. We see a shot from behind her of her standing, facing the layout of the second island before her in the background. She makes one last desperate call, barely audible through the downpour:

KATE: IS ANYONE THERE?! ANYONE ?!

And there is no answer but the continuous downpour of rain, as her expression begins to mellow, as she is accepting now that no one else is coming. We get a final few moments focused on her as she stands alone in the storm, with what sounds like increasingly loud musical drum beats, until the final note hits as the screen goes black.

L O S T OPENING LOGO - it’s reversed

[Commercial Break]

We are now in the midst of a sunny sky, hearing the engines of a plane, as the camera curves left, and that plane’s nose comes into view, the camera panning along the plane’s right side, a red stripe along its white exterior with the logo “Ajira Airways” marked near the front - it’s now clear we’re witnessing a flashback. The camera continues to pan along the side of the plane, the Oceanic Six theme softly building, until the camera zooms into one of the windows, a subdued ratty-haired Claire Littleton and a hopeful Kate both seated and staring out.

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Jared Harris. Special Guest Star Nestor Carbonell. Special Guest Star Jeff Fahey. The rest of the credits also listed.]

The music gets heavier, as we are now in the plane itself. Claire turns to face Kate, who smiles, though Claire does not return that smile, only looking down for a moment with uncertainty, but glancing back to her returning an appreciative smile.

CLAIRE: Thank you, Kate. For not giving up on me.

Her thank-you conveys a lot of gratitude, both for Kate convincing her to leave the Island, as well as for raising Aaron. Kate’s smile conveys all she needs to say in response.

CLAIRE: Do you... really think I can do this?

Claire is of course referring to everything - returning back to home life, raising Aaron, returning back to sanity. After three years of living like this, she wonders if she could really change? She is full of self-doubt. But Kate is reassuring and optimistic in her tone.

KATE: Of course. And I’ll be there with you the rest of the way.

Kate then briefly pauses, and emphasizes:

KATE: I promise .

Frank Lapidus then emerges from the cockpit, still in his tattered pilot’s uniform, looking enthusiastically at his passengers: Claire, Kate, Richard Alpert, Miles Straume, and James “Sawyer” Ford, all looking worn, dirtied, and exhausted from their urgent escape from the island, and wondering what awaits their lives. Claire in particular looks this way most of all, her hair dirtied from living for years in the wild.

LAPIDUS: Well we’re long clear of the island. I was a little worried that we wouldn’t be getting out of there, but I took the same bearing we came in on.

Sawyer speaks for the first time since boarding the plane, calmly:

SAWYER: So where we going now?

LAPIDUS: I have us on course back to LA.

Lapidus then takes in a sigh and a look of bewilderment at the adventure he has just been on, and how to bring that with him back to the airport, back to civilization.

LAPIDUS: But hell if I know what I’m gonna say.

Sawyer sighs, realizing he’ll have to take charge of the situation, as the music quiets down.

SAWYER: Don’t worry, y’all just let me do all the talking. I can make up something in a jiffy.

Kate has a suggestion of her own, reflecting her own experiences of heavy baggage carried in lying.

KATE: Why don’t we just tell the truth? That might be better this time.

Miles chimes in.

MILES: So we tell them that we landed on a magic moving island where everyone was killed by a smoke monster .

Kate has a look of resignation when it’s put like that, but Sawyer is reassuring.

SAWYER: Just follow my lead, everything will work out.

The others all look resigned to Sawyer’s lead as well.

LAPIDUS: Alright, if you say so.

He returns to the cockpit.

MILES: So, Jim, what are you gonna do when you get home?

Sawyer gives a tired expression.

SAWYER: Thought I might just relax with my settlement from Oceanic. How ‘bout you, Miles?

MILES: Yeah, I think I will, too.

SAWYER: With what? You weren’t an official passenger of either flight.

MILES: With these.

Miles, smirking, holds up a few diamonds - Nikki and Paulo’s diamonds - in his hand, catching Sawyer by surprise.

SAWYER: Where did you get those?

MILES: A couple of jabonies lent them to me.

Sawyer looks a little confused, suspicious, and impressed, but ultimately indifferent.

SAWYER: What about you, Richard?

Richard looks reminiscent with poignance, as though he’s been thinking on this question for a long time, much longer than before getting on this plane.

RICHARD: I think… I’m going to return to what I was doing before I came to the island.

As they converse about this, Kate looks down thinking about how she will overcome the obstacles that await in her own future.

Sawyer gets up from his seat and heads into the cockpit, as the music trails off. Lapidus is fiddling with the radio, but getting a strange static response.

SAWYER: How much longer ‘til LAX?

Lapidus looks concerned and focused on the radio, but manages a response.

LAPIDUS: Should only be a couple of hours.

Sawyer nods, but takes notice of Lapidus’ problem.

SAWYER: Something wrong here?

LAPIDUS: I can’t get contact.

SAWYER: Maybe the radio broke in the crash.

LAPIDUS: No, it was working perfectly.

Lapidus continues to fiddle with the radio, trying different signals, but still getting the same eerily strange scratching and whistling static, and a look of frustration and mystification across his face.

LAPIDUS: It’s almost like… something at LAX is jamming us.

Sawyer’s expression joins Lapidus’ in being mystified. They look on through the window, at the ominous storm clouds ahead.

Back in the fuselage, the mystified tone turns to one of wariness as Kate stares off for a moment, thinking on what’s ahead. Claire then raises a question that has been on her mind.

CLAIRE: What happened to Jack? And Hurley? Why didn’t they come with us?

Kate’s grief from the cliffside returns to her eyes. Jack’s theme begins to play.

KATE: Jack…

Kate struggles to get her next words out.

KATE: Locke stabbed him. And then he stayed behind to try to stop the Island from sinking. And Hurley stayed with him.

Claire nods. Kate struggles to get out her last word:

KATE: … I think Jack is dead.

The music gets heavier. There is some sadness in Claire’s eyes at this, but even more sadness in Kate’s eyes. And with that, we hear the wooooooooosh ing sound effect as the flashback ends and the scene transitions to:

Kate sitting on a rocky ledge overlooking the gulf between the islets, the clearing and forest behind her. Credit Where Credit Is Due playing. Rain pouring down, thunder roaring. She is alone in the storm, shivering, and thinking back on that exchange she had with Claire long ago. Waiting for someone else, anyone, to turn up. Waiting for a new leader to follow in these trials ahead. With a few more moments passed in remembrance, Kate finally picks herself up again, determined to continue the search.

The music continues as she continues her dreary journey through this unfamiliar environment: we see momentary shots of her crossing through the rainy clearing towards the grayish forest, and then back in the forest itself, wandering slowly through, tree trunks and leafy branches and roots in the ground everywhere. Wildlife chirping, thunder still roaring, Kate alertly listening. She had fear first arriving in a jungle many years ago, but now she has courage, clearly visible in her eyes and posture.

As her eyes begin to stare upward in memory, her face changes to one of puzzlement, as she notices something above. The music veers from the Lost theme into something slightly ominous, and we are then allowed to see what she is seeing: a wire of something running near the upper branches - we then realize it’s what looks very much like a power cable. A sign of technology, of civilization?

Kate begins to hurriedly follow the cable, stepping across roots, watching the cable aligned through the branches and at times turning in other directions. We see a few moments of shots of Kate following and watching the cable carefully, until at last she stumbles upon another mystifying sight. She pauses again and we see her standing, staring in our direction as there is a couple of flashes of something red in the camera.

Then we see what it is she looking at: a short lightpost up to about her height. The somewhat cube-shaped bulb is red in color. And it is producing a small flash of red light every few moments. We hear a soft but eerily mystifying piece of music, reminiscent of what we might have heard in the first two seasons when stumbling upon a small but bewildering discovery.

Kate steps closer to the red lightpost, slowly wandering around it, examining it, wondering its purpose, its origin. She stares it down and notices that it has cords running down into the ground, powering it. She looks up at the cable she had been following before, and it turns in another direction. It is not powering the red lightpost, whatever it is for.

Before we can think any further, we hear a crack of something towards Kate’s left, which she reactively turns towards, something from behind the tree trunks, as we hear an anxious, high-pitched piece of music building up to whatever is coming. We are slowly paused on Kate’s alert face for a few moments more, as she stares for what’s coming in the trees, her posture ready to run if need be, but waiting to see what it is.

The thing slowly emerges: first it’s clear to us that it’s a human figure. Then we realize it’s a woman. Then we see the blonde hair and -- it’s Claire Littleton. The music relaxes into something more relieving and positive. Claire is dressed in a light blue shirt and jeans, and seems drenched from the rainstorm, but we can see that her hair seems clean and a little more straight as it was before she was claimed by the Monster.

Kate breathes a sigh of relief, smiling. Claire takes notice of her as well, a look of relief in her eyes also.

CLAIRE: Kate, I’ve been looking for you!

Claire approaches Kate, and the two embrace like sisters reunited. Claire’s theme begins to play.

KATE: Are you okay?

Kate’s tone betrays concern for Claire’s state of being. As the two begin to part, Claire replies, assuringly but holding in some concern.

CLAIRE: I’m okay. I think I’m gonna be fine.

Kate’s smile is somehow even more relieved now. Claire then turns her attention towards the lightpost, still flashing red, her face puzzled.

CLAIRE: What is it?

Kate turns to look at it again, uncertainty in her eyes also.

KATE: I don’t know.

Kate looks up at the power line running through the trees.

KATE: I was following that, it could lead to shelter. Maybe everyone else.

Claire nods.

CLAIRE: Then let’s go.

So Kate and Claire take after the power line, leaving the mysterious lightpost behind, still ever flashing. As they continue on, the environment grows increasingly mistier and foggier, wildlife still chirping. We see momentary shots of them stepping over tree roots, stepping through tree trunks, trying to make their way through the forest, unable to see much. A piece of music, low and suspenseful, but not too haunting, plays as they continue their search. Kate keeps an eye on Claire, watching out for her well-being.

This wasn’t the same island they had been on before, that Claire herself had lived alone on for 3 years, losing her mind. In some ways, it seemed alike. In other ways, though, it seemed less imposing or powerful over them in some way.

Moments have gone by for us, but more time for them has been encompassed within. We at last see them come to a halt. We see Kate’s face as she is standing cautiously, standing behind a tree trunk, watching something behind the camera. She raises a hand to stop Claire from moving further past her.

We then see that Kate is staring intently at a shack. It is in a small clearing in the middle of the forest. The power cable seems to run into it. The suspenseful music heightens slightly.

Kate and Claire head forward, and look in through glass windows on either side of the shack’s door, trying to look into the dark little room, cautious of the possibility of anything jumping at them from inside. Kate turns to look at her and gives a little shrug, before turning to the door.

She takes the doorknob carefully and twists it, and opens the door cautiously. The music slightly heavier with suspense, but not too much. She steps into the dark room, reaches her hand for a lightswitch, and indeed there is one. The whole shack becomes lit immediately. The room appears to be safe: two worn-looking beds, a stove with a teapot, some drawers, a little wooden table in the middle of the room with two chairs. Curtains along the sides of the two windows. The place looks like it hasn’t been used in years. The music has relaxed again.

She then notices a spare door on the left wall, which she quickly checks, and it’s just a bathroom, while Claire is entering the shack behind her.

CLAIRE: Looks like a nice getaway.

KATE: Yeah.

The two look around, relieved to find what looks like a relatively nice place to stay, not stuck out for the night in the wild. Kate looks through the drawers to see if there is anything useful inside, though there is none.

Later at dusk, the two are still at the shack, waiting to see if anyone will arrive. Kate sits relaxed at the right chair of the table, staring off out the window, as the teapot on the stove whistles. Claire takes the teapot and pours hot water into a couple of cups with teabags inside, then hands a cup to Kate as she sits down in the vacant chair with her own.

CLAIRE: I don’t know what flavor this is, the containers didn’t say.

They both take sips of their rather good tea.

KATE: Cinnamon.

CLAIRE: I didn’t see any food here.

KATE: That’ll be a problem.

CLAIRE: Don’t worry, I think I still remember how to catch birds.

Though she says it with a hint of disgust. Indeed, Kate doesn’t look forward to that either.

KATE: Maybe we can catch fish off the coast.

Claire looks ready to say something obvious that has been on both their minds.

CLAIRE: So what is our plan here?

KATE: Hurley will know what to do.

Kate looks a bit uncertain, though, thinking on what they would do if they don’t find him.

CLAIRE: You know, this reminds me of the old days. When you and Jack would make a plan of action. Of course, I didn’t participate much.

Kate looks in some sad reminiscence of Jack.

KATE: I still think about him. I know it’s been ten years...

Claire looks understandingly. Kate starts to crack, something she has been holding in for a long time.

KATE: I should have never left him on that island to die.

Claire takes her hand comfortingly, as Kate’s eyes get a little watery. Jack’s theme starts to play again, a more emotional tone.

CLAIRE: He made his choice.

KATE: I always followed him. Except that one time.

Kate pauses, taking it in, the burden of her choice. Claire smiles.

CLAIRE: It was the right choice. For Aaron and me.

Kate smiles back, being brought back to the reality of the good choice she made. The music then trails into another one of Claire’s themes .

CLAIRE: I know I tell you this all the time, but again, thank you so much .

Claire has been grateful every day for Kate bringing her back to civilization. Kate appreciates her continued gratitude.

CLAIRE: I sometimes wonder what it would have been like to have Jack in our life. My brother.

KATE: He was great with Aaron. ...He sometimes asks me about him. He remembers him, just barely.

Claire nods.

CLAIRE: It doesn’t matter so much to me anymore. We do have family.

And Kate smiles, understanding that Claire is referring to her, and to the Oceanic survivors as a whole. Claire pauses thoughtfully.

CLAIRE: We have to do this thing we’re here for. To keep Aaron, and all of them safe.

Kate nods in agreement, then glances at the window again. The music has quieted into silence again. And so the two of them sit there in the quiet with their teas.

There are a few moments of pause in peace.

...And then:

A HEART-STOPPING BOOMING SHRIEK, AN EARTH-SHATTERING BURST, LOUDLY FROM OUTSIDE, the sound of a tree trunk being ripped from the ground . Kate and Claire are nearly startled to death out of their seats, struck by the shock, as the power line outside is heard popping in sparks, AND THE LIGHT GOES OUT IN THE SHACK. We can hear the heavy, anxious breaths of the two women, concealed in the dark except for the dim dusky light outside - we the audience can see them a little clearly via the camera’s enhanced perception of light. An terrible mechanical rolling sound can be heard extremely close outside, sounds familiar to both to Kate and Claire as well as to us.

A musical horn blares dramatically with a primal horror as we see the stunned look of Kate’s terrified expression. But the camera zooms slowly towards Claire, as Kate’s reaction is nothing compared to the utter horror on Claire’s face. An EXTREMELY DANGEROUS, MONSTROUS ROAR SIRENS outside. But inside, we can only hear the terrified breaths of the two women.

Then Claire says in little more than a whispered shriek, heavily distraught with fear and despair in her eyes, unable to believe the horror what she is hearing:

CLAIRE: Oh my God!

And with a THUD, the screen goes black.

[Commercial Break]

Claire and Kate are sitting in the dark room, petrified expressions still on their faces, barely illuminated by the camera for the audience’s sake. The only sound we can hear is Claire panting with an anxiety. Just then, thunder cracks, and we begin to hear the sound of raindrops hitting the shack. After a few more moments, Claire whispers:

CLAIRE: We have to get out of here.

Kate whispers back in a petrified tone, but trying to keep her cool.

KATE: Maybe it’s gone.

Kate, breathing heavily for a moment, taking in courage at this unexpected emergence of danger, gets up from her seat. She proceeds to the door. Slowly, she cracks it open, looking outside at the dark, rainy landscape. She steps outside, quietly stepping, almost tip-toeing. In a moment, Claire is also outside following closely behind her.

Kate and Claire walk a short ways from the shack, through the rain, a feeling of tension with each step. With a flash of lightning (followed shortly by thunder), the area is quickly illuminated, a large tree trunk, newly fallen, laying near the clearing.

CLAIRE: He’s close.

Suddenly, another dangerous CRASHING SOUND with the sound of another tree trunk being ripped from the ground is loudly behind them, and they quickly turn behind themselves to see the tree trunk startlingly SMASH through the shack, busting it to pieces. Another HOWLING SIREN is immediately heard from that direction.

KATE: Run!!!

A frantic piece of music starts (0:22), though inverted on some beats, as Kate and Claire immediately run towards the dark forest, rain storming around them, as the sound of ROARING and TICKING can be heard close behind them.

They urgently pull themselves past tree after tree, stepping over roots, the storms ever raining, the continued sound of monstrous groans and mechanical rolling heard behind them, and sometimes the sounds of trees crunching .

Finding themselves from a forest into the denser, thicker trees of a jungle, they continue to run urgently. Kate finds a group of trees closely clumped together, and Kate quickly grabs Claire’s arm and pulls her with her into the clump of trees to hide inside. The music comes to a stop (no later than 1:00), as we hear the sound of the two breathing frightfully among the rainstorm and thunder.

We continue to hear the monstrous moaning and trees smashing in the distance as the Monster is on the move. Claire is almost hyperventilating with anxiety. Kate takes notice.

KATE: Claire, it’s going to be okay!

CLAIRE: He’s going to find us!

Claire starts to shake a little, trying to get out of the trees, but Kate struggles to hold her still.

KATE: Listen to me…

Claire struggles against her own will to halt herself to listen. Kate remembers something important.

KATE: We’re going to count to five !

CLAIRE: Why?!

KATE: That’s how long we let the fear in! Then we let it go !

Claire’s expression looks bewildered, but she is trusting of Kate. She nods. So Kate begins...

KATE: One!

The sound of the monstrous roaring can still be heard maneuvering in the distance. Kate and Claire are both taking heavy breaths, letting the fear in.

KATE: Two…

Kate looks at Claire with a face as though encouraging her to join in.

CLAIRE: Three!

Kate nods, that this is right.

CLAIRE: Four!

And with that, Kate, nodding, says the last part.

KATE: Five.

One more monstrous moan can be heard in the distance, though it sounds as though it’s dying out. Rain still storming, thunder still roaring, though Claire is calming down. Both of them are.

Kate maneuvers a little to get a better look out through the trees, as we can see slightly into the dark, malevolent jungle. We hear a slight piece of music from the Pilot, subtle but eerily haunting, for a couple of seconds (0:03 - 0:05) , as Kate stares out through the trees, listening into the jungle for a few long moments. The only creaturely sounds heard now are the ominous, exotic sounds of wild birds howling in the distance.

Kate steps back closer to Claire, and the two stand there in the silence of rain and thunder for a couple of moments more. Then we hear the familiar wooooooooosh ing sound effect as we transition to a flashback:

The camera is on the ratty-haired Claire again, as we realize we are back on the calm of the Ajira plane in the past. She is looking on through the window at the dark storms outside. Sawyer then emerges from the cabin to speak to the passengers - Claire, Kate, Miles, and Richard.

SAWYER: The pilot says we’re 20 minutes from LAX.

But Sawyer’s expression is one more of concern than anything.

KATE: Something wrong?

SAWYER: We can’t get in contact. Something’s jamming the signal.

Looks of concern overcome the other’s faces.

RICHARD: Well, they can’t stop us from landing.

As Sawyer goes to take a seat, the camera goes back on Claire and Kate who are seated next to each other. Claire looks a bit haunted.

CLAIRE: Kate… What happened to Locke?

Of course, we know she means the Man in Black who was in Locke’s form. Kate takes a breath, unprepared to talk about this, and then explains to her.

KATE: I shot him. And then Jack kicked him off a cliff. He’s gone.

Kate, knowing the Man in Black had been a “friend” to Claire for a few years, worries of what Claire’s reaction to this news will be. But Claire is more concerned by something else.

CLAIRE: How do you know he’s gone?

KATE: We saw his body.

Claire’s look of concern is unchanged.

KATE: Claire… I know he was… there , when we weren’t . But he killed Sun and Jin, and Sayid-

Kate stops, noticing that this news is distressing to Claire. Up to this point, she had not yet been told who was dead. She only knew that the Man in Black had succeeded in killing some of them at the submarine.

CLAIRE: I know he had to die. That’s not what worries me.

Kate has a moment of relief but also confusion to Claire’s reaction. Claire remembers the sense of being claimed .

CLAIRE: I just want it to be over.

KATE: Whatever Jack did on the Island, he made it so Locke could be killed. We’re free from him now.

Claire nods, though with some doubt about this. A moment later, Lapidus’s voice is heard over the intercom.

LAPIDUS: Ladies and gentlemen, this is Captain Lapidus, and we're now beginning our final descent into Los Angeles international airport.

The camera is now in the cabin, on Lapidus’s face as he pilots the plane, as a variation of the LAX theme begins to play.

LAPIDUS: We’ve got storms coming in east and radio interference. Not to mention, a civilization waiting full of questions. So buckle up tight, because we’re gonna have a bumpy return.

Lapidus tries to turn on the “fasten seat belt” sign for the passengers, but it’s broken and remains unlit. Regardless, we see as Claire, Kate, Sawyer, Miles, and Richard put on their seatbelts, and look to one another with expressions that convey “This is it” and “We’re finally home”.

We see an aerial shot of Ajira Flight 316 flying over the coastline of Los Angeles amid dark storms. Parts of the Oceanic Six theme starts to play over parts of the LAX theme. We get a moment of the camera on each character’s face, including Kate’s relieved expression, Claire’s expression which has hints of anxiety, Sawyer looking out the window with a slight smile and nod as he is finally home at last, Miles’ smile, Richard’s face of remembrance as he recalls wanting to come here - to the New World - so long ago, and lastly Lapidus’s focused face as he begins to land the plane on the airstrip.

As the music gets heavier, we see a shot of the plane slowing to a stop on LAX’s tarmac. We see a couple of dark vehicles pull up onto the tarmac as well, approaching the plane. We are then back inside the plane, as just the music continues, with the Ajira Six heading to open the exit door, as the music quiets down a bit.

We are then observing the door of the plane from outside, as Kate, Claire, Sawyer, Miles, Richard, and Lapidus all drop down onto the tarmac. The dark vehicles come close and park. We get a sense of each of the Ajira Six’s expressions at being able to breathe the air of civilization again.

However, as several tough-looking men begin to quickly step out of the vehicles, the music’s tone turns a little more of an eerily ominous variation of the LAX/Oceanic Six themes, as the Ajira Six’s expressions turn a little more confused at the rather foreboding demeanor of the men from the vehicles.

Finally, the camera takes note of one middle-aged man in dark clothes (likeness or portrayal based on Jared Harris) stepping out of one of the vehicles at last. He steps forward, carrying an air of authority. The music quiets down enough so that we can hear dialogue.

LAPIDUS: This is Captain Frank J. Lapidus! ...We’re the last survivors of Ajira 316!

The men’s expressions are unchanged, and they stand in silence. Then, the leader, who has a British accent and a raspy voice, finally speaks, firmly but politely.

LEADER: Greetings, Captain Lapidus.

LAPIDUS: You boys know you have something wrong with your radio?

LEADER: Yes. We have shut off communications temporarily while the airport is shut down.

The Ajira Six pause, now sensing strongly that something is not right. The music turns to silence.

LAPIDUS: Why would you do that?!

LEADER: Your questions will be answered soon. For now…

The leader motions with his hand to the security with him.

LEADER: We are going to have to bring you inside with us.

The security start to take handcuffs out of their pockets as they surround the Ajira Six. A deep look of unease overcomes the Ajira Six’s faces, especially Kate’s for her history with handcuffs, and Claire’s for her last three years of instability towards hostility.

SAWYER: Now hold on! What’s that for?!

None of the men answer him as they approach them. Lapidus looks put out.

LAPIDUS: Is this really necessary?!

But the men are not interested in answering. And they soon start to handcuff each of them. We see a look of uncomfortable familiarity in Kate’s face in particular.

Then, as one guard attempts to handcuff Claire, she pulls away from him. He overly forcibly grabs her by the arm and pulls her back -- and with that she suddenly SNAPS . She elbows him hard in the face, and he groans and tumbles back. A couple of the other guards turn and start to hurry towards her.

Kate desperately yells:

KATE: STOP!

But Kate’s desperate cry is ignored, and she and Sawyer quickly try to step in to help Claire, only to be forced back by a couple of other guards, and their arms are bound by their handcuffs, unable to move. The survivors can only watch helplessly at what will unfold.

Claire gets into a scuffle, exchanging punches with the guards until she is tackled onto the ground and forcibly held down, as one guard takes a needle device of some kind and injects the struggling, yelling Claire in the arm with it.

KATE: Claire! It’s going to be okay!

Claire quickly falls under sedation. The other survivors are disturbed by the skirmish that just took place, but most of all Kate is especially struck. She violently resists the guards holding her and tries to fight out of her handcuffs, but she is unable to.

LEADER: She will be fine.

Kate looks on with a horrified look of defeat as Claire is taken away to one of the vehicles to be closed in, along with the other survivors who look on disturbed or exasperated as they are also escorted into the vehicles.

The unconscious Claire is dragged to a vehicle and loaded into the backseat. And with that, we hear the wooooooooosh ing sound effect as the flashback ends and the scene transitions to:

We’re now on Claire again, her hair not ratty, but drenched from the rain, as she sits awake in the clump of trees at daylight thoughtfully. We see Kate asleep - though after a moment, she awakens.

KATE: Did you sleep?

CLAIRE: Not much.

The two pick themselves up, and the camera quickly cuts to them walking through the silvery trees again, everything drenched from last night’s rainstorm. We hear another familiar haunting piece from the Pilot (0:59 - 1:27) , though inverted at times as we see a few quick shots cut together of them wandering, Kate’s expression determined, Claire’s a little “spaced out”.

The music quiets a little as Kate then comes to a stop, along with Claire thereafter.

KATE: HURLEY! … JAMES!

CLAIRE: Something is going to hear us.

KATE: We have to find them as fast as possible.

CLAIRE: I think he will find us again.

KATE: Who do you mean?

Claire motions her head towards the jungle, indicative of the direction of the Monster. Kate realizes she is talking about the Man in Black, as we hear a slight haunting piece of music.

KATE: Claire, Trust me . ...Whatever that thing was, it’s not him . ...He can never hurt you again.

Claire then asserts her deep fear:

CLAIRE: Somehow… he’s not really gone.

But Kate shakes her head. We hear a defeated variation of the Man in Black’s theme (0:42 - 0:48) , as Kate reassuringly explains:

KATE: He lost his power. He was frail , bleeding .

Claire looks uncertain. She wants to believe, and yet she cannot deny her own senses.

CLAIRE: Then how do you explain what happened last night?

KATE: There are two islands. What’s to say there can’t be two monsters?

Claire nods her head slightly, and looks down, not sure that this is really any more comforting.

CLAIRE: You were right, before ...

Kate is confused as to what she is referring to. Claire seems to be referring to something which we the audience have not been yet made aware. We hear a small but sad variation of Claire’s melody, as she clarifies:

CLAIRE: I shouldn’t have come with you here. I was wrong. I can’t handle it.

Kate gently places her hand on Claire’s arm comfortingly, though with a look of strength in her expression. The music turns a little brighter , as Kate says with a reassuring confidence:

KATE: Well we’re both here now . You’re strong , Claire.

Claire nods, and smiles, glad for her confidence.

Just then, we hear the crack of something moving, on an elevated bit of land behind them.  The music turns silent again. The camera quickly cuts to the point of view of someone’s brown boot, stepping on the elevated land, looking down on them, as we see them looking back up at the figure.

We see none other than James Ford standing there between trees, his blonde but graying hair hanging to the back of his neck, a look of relief on his scruffy face. He looks like he is drying from rain himself in his gray shirt and blue jeans. He is holding a rifle upright. We hear an uplifting variation of the survivors’ theme .

KATE: James!

Kate and Claire both look relieved to see him, as he carefully but quickly steps down the elevated ground onto their level, and is met with a hug from Kate, which he returns with one arm.

SAWYER: I heard you shout a minute ago.

Claire stands smiling, though seeming a bit distant in her mental state. James reaches his arm and hugs her as well.

SAWYER: Everything okay?

Claire smiles.

CLAIRE: Everything’s okay.

Kate asks in an ominous tone, indicative of the monster lurking in the jungle:

KATE: ...Did you hear it?

He nods, some exasperation behind his face.

SAWYER: Old times. Have y’all missed being stuck on an island?

Kate smiles.

KATE: No way.

James nods with a smile of his own, as the music quiets into silence.

SAWYER: Me neither. … I’ve been lookin’ for you two for a day.

KATE: We’ve been looking too. … Have you seen Hurley?

James shakes his head.

SAWYER: Not yet. But Miles and the kid are with me.

Kate and Claire’s expressions lift up.

KATE: Then let’s go.

He nods, and the three of them head onward through the trees.

[Commercial Break]

We are back at LAX, now inside the actual building, observing as the security men, surrounding the handcuffed Sawyer, Kate, Lapidus, Miles, and Richard, escort them through the open rooms of the airport. The building is strangely completely vacant of anyone except them. Claire is also being dragged with them, still unconscious from the sedative. The security’s leader is leading them through a large open room.

Kate anxiously demands:

KATE: Are you going to tell us why we’re a security risk?

Sawyer then remarks to her, having already figured it out:

SAWYER: They ain’t security.

The leader glances back to them, and replies in his raspy voice.

LEADER: You’re quite right, Mr. Ford. We are not apart of the airport staff, all of whom we’ve vacated pending further notice.

The five castaways give each other glances, still confused to identifying their captors. They enter through a doorway into one of the smaller rooms, with a ring of chairs seated around an empty space, perfectly set up for a discussion. Each of the castaways is seated in a chair, with an enforcer or two standing behind each. Claire is left behind outside the door, watched over by a couple of men. The leader takes an empty seat of his own.

LEADER: So, let’s get straight to business, shall we?

The castaways look at him stiffly. A low, ominous piece of music begins. The leader introduces himself, formally:

LEADER: My name is Manvel Galen. I am here representing the interests of the Hanso Foundation.

Kate has a look of wondering if she should know or care who this is, while Sawyer, Miles, and Richard bare looks of more recognition, and Lapidus looks derisive. Sawyer scoffs a little.

SAWYER: Those are the guys who funded the DHARMA Initiative back in the day.

Kate and Lapidus have a look as to thinking on what to make of this connection. Galen nods. Sawyer then remarks sternly:

SAWYER: You ain’t got no jurisdiction here. This airport’s government property.

GALEN: You would know all about law and order, given your criminal past, wouldn’t you, Mr. Ford? Or should I say, it is because you were Head of Security, Mr. LaFleur ?

Galen smiles a little, while Sawyer looks slightly apprehensive at his ensemble of knowledge. Galen then looks to Miles, and then to Richard.

GALEN: And of course, the rest of you would know all about that as well?

Miles and Richard look thoughtfully at him still, as he divulges his knowledge of their history with the Island.

KATE: So what do you want?

GALEN: What I want, is for you to agree to a -- partnership . … I want us all to be on the same page about what happened to your unfortunate trip on Ajira Airways Flight 316.

KATE: What do you think happened?

GALEN: It’s quite obvious what really happened. But, we shall agree on what you will tell the world .

He then explains:

GALEN: On November 15th, Ajira Airways Flight 316 took off from Los Angeles for Guam. Captain Lapidus was not the one who piloted it, but overslept that day. It was lost over the Pacific, and no member of the Oceanic Six ever boarded it. Your names will be struck from the records. There was no connection to Oceanic 815, the other plane which also unfortunately crashed in the ocean three years ago.

He pauses for a breath, and adds:

GALEN: … And soon, the remnants of your plane will be found in the sea, and the world will falsely assume it crashed into the ocean, like last time.

SAWYER: Nice coverup you’ve got there, Smoking Man, except the whole City of Angels already saw us landing here.

GALEN: We will wipe all recordings of your flight en route here. As for civilians, no one can prove which plane they saw.

MILES: You can just wipe camera recordings?

Galen smiles.

GALEN: With enough friends in high places - or low places, you can bend much of the world to your accommodations.

KATE: So what if we don’t agree to lie for you?

Galen looks warningly in his eyes.

GALEN: Then… we will release records to law enforcement implicating the involvement of all of you.

The five castaways look warily, especially as Galen’s eyes shift towards Kate in particular.

GALEN: Especially for you , Miss Austen.

Kate is clearly disgusted in her expression at the blackmail implication, knowing her past criminal status and the fact that she wasn’t supposed to leave California state. Richard then begins to chime in confidently, offering his resistance effort:

RICHARD: Actually, I don’t believe we have to do anything you say. You have your connections, well so do we.

However, Galen’s own smile only grows into a smirk of his own at something crucial Richard missed.

GALEN: Unfortunately, Mr. Alpert, a corporation must stay steady in order for it to sustain its influence.

Richard’s expression turns a little defeated in realization of what Galen is about to say next:

GALEN: In the past years, your company wasted resources on the wrong war. And so the Hanso Foundation was able to rise up once more.

We see reflected in Richard’s eyes a hint of thoughtful frustration.

SAWYER: … So why do you want to cover up the Island?

Sawyer pierces back into Galen’s eyes, trying to read him.

SAWYER: Hate to break it to you, but it sunk to the bottom of the sea last we left it.

GALEN: Regardless, we don’t need it. We have our own assets.

Galen then proceeds to stand up.

GALEN: Well, that will be all for now. I bid you six a good day. My business card...

He reaches for it out of his pocket and hands it to Sawyer. It reads “The Hanso Foundation” and “Dr. M.D. Galen” with “Chief Technology Officer” written underneath it. He begins to walk out of the room, and waves a signal to the enforces in his room with his fingers.

As he leaves, the men begin to uncuff Kate, Sawyer, Miles, Lapidus, and Richard. The five wisely do not attempt to put up any kind of fight on being released. They all gradually left the room. Outside, Claire’s unlocked cuffs are already on the ground. Kate bends over to her as she is groaning a little, beginning to regain consciousness. Kate’s expression turns a different shade of concerned.

KATE: Are you alright, Claire?

Claire groggily forces her eyes open, taking in the light, as she mumbles.

CLAIRE: I think so.

Kate helped Claire to her feet. Lapidus, Sawyer, Miles, and Richard proceed across the large open room to look out a wide window showing the tarmac in the distance outside. They can see the Ajira plane, surrounded by several demolition vehicles. Lapidus watches sentimentally with a feeling of a punch to the gut at what he’s seeing. And Sawyer lets out a huff.

SAWYER: Well, so much for getting that Oceanic settlement…

MILES: You can always borrow a diamond.

Sawyer proudly shakes his head.

SAWYER: Keep ‘em.

Kate and Claire soon follow behind them. They continue to watch the plane be demolished, as Sawyer’s expression turns defiant, his sense of law and order coming in:

SAWYER: It ain’t right, that a corporation can just meddle in people’s lives like that. … No one should be above the law.

Kate looks at him with a glint of surprise in her eyes at his anti-crime sentiment. We continue to see parts of the Ajira plane taken down and crushed. The low ominous music that’s been playing softly throughout the whole scene begins to build up more dramatically, as we see a final shot of the Ajira plane, completely torn apart, its parts being rolled over and crushed. We hear the wooooooooosh ing sound effect as the flashback ends and the scene transitions to:

The camera is now on Sawyer, his eyes showing reminiscence of the Ajira plane’s landing, as he leads Kate and Claire through the gray of the forest, palm trees surrounding them. Sawyer looks weary of the journey. He looks down, maybe with some bewildering regret.

SAWYER: Maybe it would have been better to stay home, for what this place will do to us.

KATE: It’s the only way to protect our children.

SAWYER: I dunno. I’m not sure that’s the only reason we’re here.

KATE: What are you talkin’ about?

Sawyer is silent in response. Kate’s expression turns somewhat derisive.

KATE: You don’t mean destiny ? We made a choice to come here.

Sawyer huffs out a laugh.

SAWYER: No, we’re well beyond destiny. … I mean temptation .

Kate and Claire seem surprised, though maybe understanding what he means, if not entirely sure. Sawyer doesn’t clarify. Instead, he’s looking at something ahead. He nods in that direction.

The three carry on and emerge through an opening in the forest, onto what almost looks like the remnants of an old road, though with leafs and tree limbs fallen over it.

And there we see the two of them, standing around some short metallic structure in the road: first, Miles Straume, wearing gray clothes which match his now gray thinning hair. He is rummaging through a dry bag that has bottles of water and food in plastic and other little provisions inside. There is an empty, open rifle case laying near, along with another case for guns.

We then see the second castaway, who takes us by surprise: dressed in a white shirt and blue jeans, it’s Walt -- and he’s an adult !! He is standing tall next to the structure on the ground, as we faintly hear Michael and Walt’s theme for the next few moments. He smiles and runs to greet them, with his now deep voice:

WALT: Hey Claire, Kate!

KATE: Hey, Walt.

We see them greeting him back. There is a glint of concern in Kate’s eye for Walt. Miles turns to look at them, holding the bag, he pulls out a water bottle from it. Claire goes to talk to Miles to get some provisions. However, Kate’s attention is distracted curiously by the metallic structure in the middle of the road.

It’s something almost familiar, lying on its side, though the limbs of trees are obscuring it. We can make out something like a faded turquoise with dirt and mud on it underneath the limbs. As we get closer, we then see, on the side: a popped tire .

Kate examines it more closely, lifting tree limbs off of the front of it, and with her we can make out a familiar octagonal logo on the front of the remnants of the van, as we hear a mystifying, fleeting bit of music. (Observant viewers, or viewers who take screenshots, may also notice that the sideways word in the logo is not “DHARMA” but rather a different word altogether: “SAMSARA”). Kate turns away from the van.

The next shot then cuts to minutes later, as the group is standing or crouched around in a circle, Kate eating a sandwich and Claire drinking a water bottle.

CLAIRE: So how is everyone doing?

SAWYER: Just swell. ‘Cept I feel like I’ve got deja vu. I thought this place would be different from the other island.

Walt then explains reassuringly:

WALT: You guys haven’t seen the first one since then. Hurley’s done a lot to make it safe.

Sawyer nods with some sincerity.

SAWYER: I’m sure he has. Man has a good heart. ...But I put that island out of my life.

Kate, Claire, and Miles seem to nod in agreement. Walt smiles at the irony.

WALT: So you’d rather just come to a dangerous island instead.

Sawyer shrugs with a vague air of frustration.

SAWYER: I’d almost say we should buck and run, if it weren’t so damn difficult getting here in the first place.

MILES: It’ll probably be even harder to escape, without Hugo’s know-how.

Sawyer then sighs, and says:

SAWYER: I thought this was going to be some corporate estate. Hugo said this was their island.

He pauses, then remarks:

SAWYER: Both islands are just two sides of the same coin.

WALT: I wonder how there’s two . Ours in the South Pacific, this one in the North Atlantic.

KATE: They’re not exactly alike. I got a look at the full landscape. This one’s cut into 4 smaller islands.

SAWYER: Four? Did you see any boats?

Kate shakes her head.

SAWYER: It’s gonna be difficult getting across.

He lets out a quick sigh of dissatisfaction, and then declares:

SAWYER: So our infantry is almost reassembled. Our prime objective now is to find Hugo. We’ll search west - stick together, so none of us gets lost and killed by that thing.

And he looks across at everyone, as we see a camera shot of the full group, Sawyer, Miles, Walt, Kate, and Claire. We briefly hear a softer variation of The Sub Group (0:06 - 0:13) .

The music comes to an end as the scene concludes on a shot of Sawyer’s face as he looks across at the group.

[Commercial Break]

We begin on a shot of Kate - and then see Sawyer with her, both well-dressed and well-groomed. We see they are in an open room, a comfortable if dull lounge with several troubled individuals wandering about. We recognize this place as the Santa Rosa Mental Health Institute.

At one of the tables, a dispirited Walt, around 16 years old, is sitting at a table in his blue jacket, playing Connect Four by himself. (Malcolm David Kelley already looked old enough by 16, that even now in his mid 20’s, can still pass for a late teenager for this scene.) He then sees them approaching the table, and forces a friendly smile of greeting. A soft, sentimental piece of music beats.

WALT: Hey, guys.

KATE: Hey, Walt. How are you?

WALT: I’m… not doing too good, to be honest.

Kate and Sawyer take their seats, keeping uplifting expressions.

WALT: What are you guys doing here?

SAWYER: We came to check on you. We heard you came here after your grandma died.

Walt nods.

KATE: Is there anything we can do?

Walt shakes his head.

WALT: Nah, I don’t think so.

Kate then releases some feeling.

KATE: I’m sorry we haven’t come to see you sooner.

WALT: It’s okay.

A thought then springs into his mind that lifts his expression mildly.

WALT: Can you get my dad here? … I wanna see him.

It hits Kate and Sawyer inside like a hammer, that Walt still doesn’t know. They know they have to break the truth.

KATE: Walt… Your dad… He’s dead.

Walt looks surprised by this.

WALT: … He is?

Kate and Sawyer nod. Walt’s expression dims again.

WALT: How??

KATE: It was years ago. He died saving us.

This still doesn’t click for Walt.

WALT: But that doesn’t make any sense. If he’s dead, then why hasn’t he --

But Walt catches himself and stops before saying something that sounds crazy. Kate and Sawyer’s expressions turn concerned. A darker variation of Michael and Walt’s theme begins. After a couple of moments paused, Walt begins to speak again:

WALT: After my grandma died… things started happening, all the time .

KATE: What things?

WALT: Crazy things… Crazy dreams. And animals following me around, dying in traffic. And then…

He pauses for a moment of troubled hesitation.

WALT: I saw my grandma, and my mom too.

Kate and Sawyer’s eyes continue to flash concerned, as Walt continues:

WALT: They’ve been coming here and visiting me. … I know it sounds crazy. I mean… it is crazy...

Kate and Sawyer aren’t sure what to say, but try to be understanding, nodding. Walt then struggles to express his next feeling:

WALT: And I feel like… I need to go back to that Island. … Can you get me back there?

Kate and Sawyer look more stunned by this.

KATE: Why?

Walt struggles to find the words.

WALT: For some reason… I feel like I would get better.

They shake their heads. In Sawyer’s eyes, we can read that he thinks now that is crazy. So he speaks to try to relate to Walt with his own baggage:

SAWYER: Look, kid - Walt. I know what you’re going through. … When I was a kid, my daddy shot my mom, then himself. … I had to grow up living with that.

There is another uncomfortable pause of wondering what to say next. So Sawyer attempts to give his word of comfort:

SAWYER: But you’re gonna be alright. Just don’t go doing nothing stupid, ya hear?

Walt nods a “thanks”, though not really feeling this advice helps. Kate and Sawyer continue to sit with him, as he starts to put pieces back in the Connect Four game. We see a shot of Kate’s expression as she thinks on with some maternal instinct, and we hear the wooooooooosh ing sound effect as the scene then transitions to:

We are now on a shot of Kate walking with the group (Sawyer holding the rifle, Claire, Miles holding the extra gun case, and Walt wearing the dry bag) through the gray, palm treeish expanse of Island 2. She is looking at Walt who is walking ahead of her in the group, remembering their meeting in Santa Rosa. We are hearing what almost sounds like the haunting exploration theme , but the notes seem inverted at times from how we would normally hear them on the first island. We at times get a sense of the remnants of technology laying through nature. At some point, Kate walks next to Walt.

KATE: So Walt, how’ve you been the past few years?

WALT: I’ve been doing pretty okay.

KATE: Last time we talked to you was before you left with Hurley. Everything’s been okay there?

Walt nods positively.

WALT: Yeah, everything’s been good.

Kate decides to express something that’s been on her mind.

KATE: You know, you didn’t have to come with us, Walt.

WALT: I’m with Hurley, all the way.

KATE: I just don’t like the idea of you being put in anymore harm’s way than you’ve already been.

Walt just gives a smile of appreciation to her compassion, and their conversation is interrupted by Sawyer halting the group so that he can confer with them. The music quiets for a few moments.

SAWYER: So whereabouts did you and Claire trek last night?

KATE: Um…

Kate and Claire are looking up for a sense of direction on the island. A crack of thunder is heard. Kate motions her arm around the upper-right diagonally of the group’s trajectory.

KATE: We came in about northwest, from the north.

SAWYER: Well, I guess that rules out Mount Rushmore.

Rain starts to trickle upon the group. Sawyer motions his arm ahead.

SAWYER: So we’ll keep heading west for now, then circle back around south.

Everyone nods in agreement, and they continue onward, as the storm starts to pour more heavily, and the music returning. We see a few more shots of just various members of the group wandering through the trees, looking around. They take notice of another powerline elongated up through the trees.

As they’re still wandering through the storm, some of them still looking up at the powerline, there is a faint siren roar heard in the distance, that suddenly turns them all to look behind them, with various looks of terror and apprehension across each of their faces.

Then a sudden, BURSTING CRASH - a flash of lightning strikes into the power line, startling the group as a brief burst of flame erupts from it, and a couple of scorching tree branches and parts of the powerline land, drenched in the continuing rain.

As they catch their breath, their attention jerks to a sound in the trees close by and the camera turns to look in that direction. A ticking, mechanical hovering , of something stalking closely.

SAWYER: GO!!

Sawyer dropping his rifle, Miles dropping his gun case, and Walt throwing off the bag, the five survivors swiftly turn in the opposite direction from the haunting noise, and a variation of Monsters Are Such Innnteresting People begins to play, though with inverted beats, as each of the five run through the storming forest in an all-too-familiar sequence of urgence.  We see the group become scattered as we see various shots of each character, Kate, Sawyer, Claire, Miles, Walt, running desperately through trees, hopping over tree limbs and trunks, barely being able to see through the pouring rain. Behind them, we hear the menacing clicking and ticking of the creature in pursuit.

We see several shots of Kate and Sawyer desperately scrambling through the forest, the ticking and clicking and groaning pursuing, growing louder closing in on them, heavy rain storming around them, the music blaring with adrenaline.

We then see them come upon a familiar sight again -- a red lightpost , a different one from the one we saw earlier in the episode. This mechanical structure sitting upright, emitting a flashing red through its glass every moment. It is but a fleeting curiosity, as the two run past it. But Sawyer stumbles harshly to the ground, as we see his foot caught in a hole of mud. A running Kate suddenly comes upon him, and she rushes through the rain to aid him. Sawyer struggles to free his foot, and looks exasperated as Kate comes to grab it.

She urgently pulls at his boot in the mud -- the clicking and ticking and mechanical groaning is just behind them.

As Kate is pulling, however, the two are frozen, the music silencing, the rain still pouring around them, as they are both struck at what they see coming behind them, ticking and clicking .

A familiar sight of something like billowing smoke clumped as one being, speeding in an almost slithering manner around the trees towards them. But it’s different - it’s not a black or dark gray color. It evokes something of more shine, it’s more like a light gray or silver.

And before we or the two castaways can give it another thought -- it suddenly HALTS at the red lightpost .

The smoke monster hovers in place for a few long moments in the rain, a lump of smoke in the front like a head seemingly staring forward, with a soft cacophony of mechanical and animalistic sounds, as we see a quick shot of Kate and Sawyer’s petrified and bewildered expressions, and then a brief shot of the continuing red flashes from the lightpost. The monster almost seems to be examining the lightpost and the red flashes it clearly emits through the rain.

And then the head-like lump of smoke seems to retract inward and in the opposite direction, as the monster reverses its course away from the red lightpost, and therefore thankfully away from Kate and Sawyer, who still watch on with horrified but relieved expressions, catching their breaths. Rain still pouring around.

Kate moves away from Sawyer, heading towards the lightpost. She glances back to Sawyer.

KATE: You wait here! I’ll bring everyone else!

SAWYER: Are you crazy ?

Kate bravely and quickly rushes on past it, back in the direction the monster came from. Sawyer shakes his head exasperated, and picks himself up, and hurries after her.

As the two quickly run through the rain, Kate comes to a stop close to some trees, trying to get a sense of direction in the rainforest, and Sawyer soon catches up behind her. They then hear a rustle in the trees around them -- some anxious music beating -- the two get a good look around them, realizing it’s just the blowing wind.

And then - tree limbs crack - as something suddenly emerges out of the clump of trees to Kate’s right. Her eyes widen in apprehension - as a blowing horn musical piece quickly builds up - as she instinctively reacts to the figure coming out - she grabs it harshly in swift manner - the figure still out of shot, to the left of the camera’s view - and she slams it against the tree trunks. She and Sawyer suddenly realize what it is, as the camera turns left for us to see, and the dramatic horn heightens and then abruptly stops:

It’s Benjamin Linus !! More gray-haired and wrinkled, looking a bit startled in the eyes by Kate’s sudden move, and we get a slow pause on his expression as a mildly apprehensive variation of Ben’s theme (like 2:16 - 2:29 though a bit quicker and softer) playing with the unexpected air of the moment.

Kate and Sawyer’s expressions seem to mildly calm and yet still carry an old familiarity of distrust, which is clearly heard in Sawyer’s tone:

SAWYER: Ben.

Ben’s startled expression also relaxes as Kate loosens her grip a little, though he still seems wary of their air of distrust, although they are certainly not surprised to see him here on this island. He steps away from the tree trunk, and with a light sarcasm, he greets them:

BEN: Nice catching you here, too, Kate, James…

Kate and Sawyer try to relax from their distrusting impulse, and Sawyer asks politely:

SAWYER: Where’s Hugo?

Ben shakes his head slightly, a soft sincerity in his eyes that match his tone:

BEN: I don’t know. … You’re the first ones I’ve seen here.

Kate and Sawyer give glances of frustration, and an air of worry flashes through Ben’s eyes. But Kate quickly urges on to the next point:

KATE: We’ve gotta get everyone else.

She motions her head behind in the direction of the forest they just came from. Ben nods, looking thoughtfully in his eyes.

The three of them hurry on down the clearest opening through the forest. The trombone piece returns, blowing a bit dramatically (like 2:29 - 2:35 from the same scene before, though a bit softer still) as the scene cuts to:

Claire and Walt, running through the forest, with an anxious beat building, heavily panting as they run. The sound of monstrous roaring can be heard raging behind them again. The rain appears to have moved away from this area.

The two soon come upon another opening through the forest, as several leafy clumps of trees can be seen surrounding the area. Walt comes to a stop, examining them, as Claire stops too. He points around at them.

WALT: Hide in those!

Walt hurries to one clump of trees a ways from their right, while Claire heads for the clump of trees ahead in their left diagonal direction, an expression as though she knows this likely won’t be enough. Walt, and then Claire, each try to disguise themselves under the leafs of their respective clumps of trees. We see as both stand, paused, looking apprehensively, music softer but still unsettling. We then cut to:

Miles moving quickly, alone, through the forest, back towards the direction he came from, now that the coast is clear, until he comes back upon where the five of them had started running. He finds the discarded rifle, which he quickly grabs and picks up, and the dry bag, both of which he straps over his shoulder. He then comes upon the case of guns -- but it’s open. And it’s missing one of its two pistols. This startles Miles, with a musical beat to match that feeling. He takes the extra gun out of its slot.

We then hear the sound of a gun cocking behind Miles. He turns around slowly and cautiously, with some anxious music building, and looks to see -- it’s Ben standing there, holding the missing gun. The music calms again, though Miles is unsure if he should relax.

MILES: Oh, it’s you. What are you doing with that?

Ben’s expression is casual.

BEN: Just thought I’d take it. It’s for the group, isn’t it?

Miles’ expression is one of wondering whether he should be suspicious of Ben, but he doesn’t press the issue.

BEN: James and Kate went looking for Walt and Claire.

Miles nods. Ben points to the two straps around Miles’ shoulder.

BEN: I can carry one of those.

MILES: Thanks.

Miles slides them both off. Ben reaches for the rifle, but Miles hesitates and hands him the bag instead, which Ben certainly notices.

BEN: Why not the rifle?

MILES: You’ve already got a gun.

We can see in Ben’s eyes and Miles’ expression, though, that he just doesn’t trust Ben with more than one gun. But Ben nods compliantly. The two proceed onward back in the direction everyone else went.

We cut back to the area where Claire and Walt are hiding in different groups of trees, as we get glimpses at their anxiously observant eyes through the leafs. They hear the soft animalistic-but-monstrous rattling noise of something approaching closely, slowly.

The silvery smoke Monster emerges into the area, slowly moving with the sound of a low mechanical-like rumbling, with an ominous and unsettling piece of music playing. Claire and Walt’s eyes turn more frozen in terror. As the Monster hovers, it slowly turns left, closing in on the grouping of trees Claire is hiding in. It knows she’s in there! We get a quick shot of her panicked, deeply terrified expression as it gets closer, and a quick look of Walt’s determination. We get a shot from the angle of the Monster’s POV as it gets closer to examining Claire’s hiding spot.

Then Walt dashes bravely out of his hiding spot, out to the clearing, whistling like calling a dog, and shouting:

WALT: HEY! OVER HERE!

He hops and waves his arms, as the Monster turns its direction around to face him. We see a shot of Claire as she witnesses Walt’s act. What is he thinking?!

CLAIRE: WALT, NO!

The Monster ignores her shout, and instead pauses slowly and gazes upon Walt as he stands, frozen but defiant. It lets out a few flashes of bright light like that of a camera, with the sound of a loud mechanical ticking, causing Walt to squint his eyes and turn his face with each flash, the Monster scanning into his mind. The music getting heavier with anxiety. Claire urgently comes out of the trees, though hesitates, watching the creature’s movement.

And then it suddenly concludes its scan, and moves to lunge at Walt. Sensing its movement, he turns and attempts to leap out of the way, tumbling to the ground, and the creature curves and grabs him. The music blares dramatically now. Claire stands cautiously. And Kate and Sawyer suddenly emerge through the forest onto the scene as the Monster begins dragging a yelling Walt.

Sawyer and Kate quickly burst into action, hurrying towards the beast and its prey. It drags him back through the forest -- until it arrives at a hole in the ground -- it begins to slide in -- and is taking Walt with it.

Sawyer and Kate yell and leap to grab Walt by the arms, holding onto him as he is barely kept on the surface. Walt yells as well, struggling as the Monster tugs at him from his legs in the hole, while Sawyer and Kate desperately hold onto him from his arms and upper torso. Music very similar to Monsters Are Such Interesting People (1:01 and onward) plays (though with some inverted beats; and instead of Locke’s theme, a dramatic variation of Michael and Walt’s theme is heard among the blaring of danger.) The tension and music is increasingly urgent.

CLAIRE: STOP!

Claire makes an unexpected move, tackling Sawyer and Kate, causing them to lose their grip. And with that, we see as a a yelling Walt disappears down into the tunnel! The music tones down into a more quiet but horror-struck beat at what has just occurred.

A distressed Sawyer and Kate hurriedly pull themselves up, trying to grab their breaths.

SAWYER: Why would you do that?!!!

CLAIRE: It would have killed him!

The two pause, staring at her, but realizing she didn’t just do this for no reason. She speaks as one who witnessed this phenomena regularly:

CLAIRE: He would do this! … He just tore their bodies .

SAWYER: And whaddoyou think’s gonna happen now?!

CLAIRE: I don’t know, but he has a better chance of surviving now.

KATE: Where is it taking him?

CLAIRE: Could be anywhere it feels like.

An ominous piece of music rattles with that remark. Sawyer desperately looks down into the hole.

SAWYER: WALT!

And there is a brief pause of no answer. We get a shot from inside the hole, looking up at Sawyer staring back down into it at us, as he shouts more urgently:

SAWYER: WAAAAAAALT!!!

And with a thudding sound effect, we cut to black:

[Commercial Break]

It’s dawn, and a car pulls up onto a grassy field. Ahead, we see housing and farmland. The door opens, and Miles steps out, looking the same age he does in the present, shutting it back behind him, and he heads intently over to his destination. As Miles walks across the lovely green farmland, a soft variation of Richard’s theme plays for a few moments. He soon meets with Richard, now looking a bit more aged, his dark hair more visibly graying, though still appearing as though he has eyeliner.

RICHARD: Thanks for coming, Miles.

MILES: It’s no problem.

Richard leads him over to the barn. Inside, we see two bodies laying on the ground, with some dried blood on their heads.

RICHARD: They came and attacked me last night. I beat them over the head with a shovel, and the other two guys ran back to their car.

Miles nods. He bends down, holding both his hands to the heads of the bodies, clenching his eyes shut. A variation of his mediumship theme (0:55 to 1:04) briefly plays for a few moments, as some spooky sound effects can be heard, and we see some quick shots to his hands at the bodies and quick shots to his deeply determined expression, eyes still shut.

Finally, the music stops as Miles opens his eyes. He moves his hands from the bodies, and apprehensively steps up. Richard looks at him for a moment.

RICHARD: Well?

MILES: It’s like you thought. They’re with the Hanso Foundation.

A haunting beat of music hits. Richard nods, feeling this was eventually coming.

MILES: They came here to take you.

Miles’ expression is one of worry.

MILES: After all these years, I really didn’t expect they would mess with us again.

Richard pauses, glancing down at the bloodied bodies on the ground. He also looks at the bloodied shovel laying up against a wall. He remarks with a kind of dark nostalgia:

RICHARD: The last time I murdered, is when I first came to the Island.

Richard then asks him a question of curiosity, from his expertise in mediumship:

RICHARD: What is it like? In the moment they’re dying?

Miles thinks on this deep, existential issue, thinking on his life’s worth of experiences.

MILES: For a lot of people, like these two, they don’t have time to think about it.

Richard nods.

MILES: … Well, I think this is just the beginning.

We then cut to the two of them walking back outside across the farmland. As they walk, two more bright car lights start to shine onto the property, a vehicle approaching, ominously suspenseful music beginning. Miles and Richard exchange apprehensive looks.

MILES: More of your friends?

Richard’s expression is one of heightened alert and caution. The two stand anxiously, the light from the vehicle already shining on them, the two of them prepared to run at any given moment. The vehicle comes closer into view, and it now appears to be a DHARMA van, and it halts and parks to a stop before them. Miles and Richard exchange glances again, still unsure of what to think.

The door then opens -- and out steps, in curly hair and business attire, none other than Hugo “Hurley” Reyes. A soft variation of Jacob’s theme plays. Hurley stands there like a jolly saint, grinning. The theme transitions into Hurley's flash-sideways theme . The daunting mood turns calm and confident.

Miles and Richard’s expressions turn to half surprised, half almost laughing.

MILES: Hugo, what are you doing here!?

HURLEY: I just came to check in on you guys!

RICHARD: How did you find us?

Hurley, still radiating a smile, answers simply:

HURLEY: I followed Miles.

RICHARD: Hurley, the Hanso Foundation sent some guys after me last night.

He motions his hand towards the bodies in the barn.

RICHARD: I think they’re coming for us, all of us.

HURLEY: Yeah, I figured they would be.

MILES: Well, what are we gonna do now?

Hurley then says with a serene confidence, a smile still on his face, his uplifting “sideways” theme still playing:

HURLEY: Don’t worry, guys. Everything’s gonna be okay. I’ve got a plan.

Miles and Richard stand bewildered, looking at him wondering what his plan could be. We see one last shot of Hurley’s grin, and then the wooooooooosh ing sound effect as we transition to:

The camera is on Miles as he treks through the drenched, pale grays of the forest and palm trees, Ben following closely behind him. It is no longer storming. Ben, in a friendly tone, decides to strike up a conversation on something irking his curiosity:

BEN: So, Miles, I have something I’ve been wondering.

MILES: What’s that?

BEN: Why did you decide to come to this island?

Miles is silent for a moment as he thinks, still walking with Ben following behind him.

MILES: Why did anyone else decide to come here?

BEN: The others did it to protect the children.

Ben pauses as he thinks through his next choice of words.

BEN: … But you, you don’t have any kids, Miles. You didn’t have to come here.

MILES: We’re all in danger from the Foundation.

BEN: You could have gone into refuge with everyone else.

The two pause walking for a moment, looking at each in other in conversation, as Miles thinks on his answer.

MILES: … I’m with Jim.

Ben nods, though not entirely convinced this is the whole story.

BEN: So there’s nothing else?

Miles glares at him, something in his eye suggesting that there is indeed something more, but he doesn’t say, as he turns and carries onward through the forest.

We cut back to Sawyer, Kate, and Claire standing with distressed expressions around the pit in the forest. Sawyer is still looking in, shouting.

SAWYER: WALT! WAAAAALT! … WAAALT!

A concerned Kate quickly but gently grabs him by the arm to get his attention.

KATE: Stop.

Sawyer turns to face her, and replies with a remark strangely reminiscent of something Michael told him on the raft remains:

SAWYER: If there’s a chance the kid can hear me, then he’ll know we’re coming!

He starts to carefully crouch down and begin to lower a leg into the hole. Kate reasonably grabs him by the shoulder and stops him.

SAWYER: I’m gonna find Walt and bring him back.

Kate shakes her head, a little horror-stricken at his course of action. A soft variation of Sawyer's theme (1:48 - 2:02) briefly plays as Sawyer, with emotion welled in his eyes and expression, replies in a softer tone, with some guilt that has followed him for many years, that may be reminiscent of both Walt and others:

SAWYER: We can’t leave the kid. Not again.

In Kate’s eyes, she is receptive to Sawyer’s feelings, though she holds his shoulder firm to stop him.

KATE: … It’s too dark. How will you even see?

Sawyer pauses, looking down thinking a moment. He feels he’s got to do something, he can’t just leave Walt behind down there.

Kate looks from the hole, then up at around the environment, so familiar of their journey years in the past. Claire also looks reminiscent. Sawyer starts to calm his mind to think on some kind of plan of action.

Kate then speaks quietly over the music:

KATE: It’s like we’re back in time.

Sawyer looks and replies quietly back:

SAWYER: Maybe we are, Freckles.

Kate smiles with a bit of surprise.

KATE: I haven’t heard you use a nickname in years.

Sawyer smiles. The music trails off, as the three of them turn around to see Miles and Ben emerging from the trees. The two of them approach until the five are gathered. Miles starts to hand Sawyer his rifle, but he reaches and takes the dry bag instead.

SAWYER: We wouldn’t happen to have a flashlight in here?

Sawyer is looking inside as Miles shakes his head.

MILES: No, I don’t think so.

Sawyer breathes out a frustrated frown as he digs through, then hands the bag back to Miles. The deputy exchanges it for the rifle with his sheriff.

SAWYER: Thanks, Enos.

Kate takes notice of the rifle.

KATE: Is there one for me?

MILES: Uh, sorry, Kate. All three are taken.

Kate raises her eyebrows.

KATE: Seriously?

SAWYER: Now I know we’re back in old times, arguing about who gets a gun.

Ben holds his gun up for a moment as though it feels foreign to him, and then amicably hands it to Kate.

BEN: You can have mine, Kate. Guns aren’t really for me, these days.

Kate takes it, Sawyer’s expression surprised, as he remarks with sarcasm:

SAWYER: Really?!

Ben nods a little. Kate ponders at her newly taken gun for a moment, before looking to Claire.

KATE: Do you want it?

Claire shakes her head, a flash of darkness and apprehension in her eyes.

CLAIRE: I think I’d better stay away from it.

SAWYER: Come on, we need to go get Walt back. He was dragged into that hole.

Sawyer points down into the hole. Miles looks stunned, and Ben steps over to take a look down. We can see the worry in his face, but he holds his resolve, as he turns back to Sawyer.

BEN: We don’t have time for that, James. We need to carry on.

Sawyer replies in outrage:

SAWYER: Well that’s convenient! Just leave him there to be eaten by that thing!

BEN: Our mission here is vital.

SAWYER: Oh, our mission is vital. You don’t give a damn about that kid, why don’t you just kidnap him again!

Ben is taken aback.

BEN: He can handle himself.

SAWYER: He’s just a boy!

BEN: No, James, he’s not a boy anymore. He’s a man. And more than that, he’s special.

Sawyer shakes his head, exasperated. A bit of mysterious, wondrous music faintly plays. Ben marvels, thinking on his words:

BEN: … If there’s anyone I would bet could hold his own against the great unknown, it’s Walt.

Sawyer is not sure what Ben is rambling about, and can only think on his anger. He looks down, distressed. He breathes out a frustrated sigh.

BEN: Remember, James, he isn’t the one you came here to protect. Remember the other kids?

Ben looks to the rest of them as well, as though his question is more broadly aimed at everyone. Sawyer looks up, shaking his head again.

SAWYER: Fine then. What do we need to do?

BEN: We came here to enact Plan B, should Hugo’s Plan A fail.

KATE: But we can’t find him.

BEN: That’s why we must presume his plan defunct, and carry out our end of the mission.

KATE: So what is it?

BEN: We’re here to dismantle the Hanso Foundation’s operation, …to neutralize Island 2. That’s how we protect all of you, all of your children , from them.

Ben looks across the group as they think on the trials ahead.

BEN: It looks like we’re all accounted for, except for Hugo and Walt. Let’s scout the beach, I believe it’s close.

Ben carries on through the jungle, leading the way. The other four follow, with varying degrees of loathing for what’s coming ahead. Sawyer remarks with exasperation under his breath:

SAWYER: Better pray someone helps that kid.

We then cut to another location, back in the forest. The camera slowly slides down to show Walt, laying on the ground, his eyes closed. The area is a messy place of mud, fallen trees and limbs, vegetation overgrowth. We see another hole in the ground several feet away from where Walt was laying.

His eyes start to shift - he’s alive, and he opens them as he regains consciousness. He scrambles to pick himself up, getting a sense of his surroundings. He stands for a moment, wondering where he is, where everyone else is -- and then something catches his eye. The camera shows that near by, is a clump of brown and green viney and root-like vegetation -- and we can make out what appears to be a human figure laying inside under it. An ominous piece of music plays.

Walt hurries over to the clump of vegetation and begins to pull it off, revealing a woman underneath, who appears to be Indian in ethnicity, about 40, wearing a dirtied white shirt and brown pants. (Likeness or portrayal based on Ayesha Dharker.) She too begins to regain consciousness.

WALT: Are you alright?

The woman, gaining a sense of her surroundings as she looks up, starts to get up, nodding. The music silences again.

WOMAN: I think so.

Walt offers his hand, and helps her stand up.

WALT: I’m Walt.

WOMAN: My name is Diya.

She looks around at the area, a bit struck with apprehension.

WALT: I think… that thing dropped me here. It grabbed you too?

Diya nods.

WALT: How long have you been on this island?

Diya pauses for a moment, thinking. She seems to carry some sense of turmoil behind her eyes.

DIYA: A long time. … How long have you been here?

WALT: Just got here yesterday.

Walt thinks, determined on his next course of action.

WALT: Have you seen my friend? His name’s Hugo, or Hurley. He’s a big guy with curly hair…

She shakes her head in response again.

DIYA: No, ...I haven’t seen anyone in a while.

Some music of resolve begins to play.

WALT: … I need to find him.

She looks thoughtful for a moment, and then responds with compassion:

DIYA: … I’ll help you find your friend.

Walt smiles to the kindness from this stranger.

WALT: Thanks.

After a few moments, Walt turns and starts to walk off in a direction through the forest, and Diya follows behind him. We see a final shot of the two of them walking out of the frame, towards the foreground. The music gets a little heavier with ominous suspense, and then --

The screen cuts to black.

And then with a thud --

L O S T

[ End Credits ]

Chapter Text

PREVIOUSLY, ON LOST…

[From 1.14 Special and the mobisode Room 23, we see clips of Walt practicing knife-throwing with Locke, a dead bird laying outside Walt’s house, a polar bear clawing at Walt through banyan trees, and then several dead birds from the window of the Room 23 building. All of this in a quick montage as Locke voices over]

LOCKE: (voice over) Maybe you haven’t spent enough time with him to see it, but he’s different.

[Then from 1.24 Exodus: Part 2]

MR. FRIENDLY: We’re gonna have to take the boy.

[There is the fiery explosion of the raft, and then Michael in the water, and the young Walt being taken by the boat.]

WALT: DAD!

MICHAEL: WAAAAAAHAHAHAAALT!!!!

[From the epilogue The New Man in Charge, with some soft, mysterious music playing. Ben is talking to a teenage Walt in Santa Rosa.]

BEN: You’re special. And I bet nobody’s told you that in a very long time.

WALT: What good does that do me?

BEN: You have work to do. Starting with your father.

[As the lines from the epilogue continue to voice over, we see a clip from 4.08 Meet Kevin Johnson of Michael looking sadly from the ground up at his mother’s building to an estranged Walt who watches from the window.]

WALT: My father’s dead.

BEN: Doesn’t mean you can’t help him.

[Then a clip from outside when Walt has joined Ben and Hurley in the DHARMA van.]

HURLEY: You just need to get back to the Island, that’s all.

WALT: Why?

HURLEY: I wanna talk to you about a job.

[Then from the end of the previous episode, 7.01 Another]

WALT: Have you seen my friend? His name’s Hugo, or Hurley.

[We see Diya shaking her head.]

DIYA: I’ll help you find your friend.

WALT: Thanks.

[The screen cuts to black and the music goes silent.]

Episode 7.02: The Gifted

The scene begins on a record player, as a pair of hands places a record onto it and plays it. Rather than a modern lyrical song like we might expect, we instead hear a classical composition (Mendelssohn’s fifth symphony, the Reformation ) .

We then see a wider view of the small room -- it seems metallic, dimly-lit, confined. There is a small window - or rather, a porthole , with water fully encompassed on the other side. There is a crude arrangement of furniture within the room, including a desk with a typewriter and some chairs. And of course, we see a man, very pale-skinned, about 40. (Likeness or portrayal based on Michael Fassbender.) He is wearing a dark shirt.

The man settles down at his typewriter as the music softly plays, and placing on some eyeglasses, he begins typing. We see a few shots of some of his complicated technical writings on the paper, seemingly medical or biological in nature. He is clearly an expert on these subjects, and has a hard determination and calculation in his eyes as he records his thoughts or observations onto the paper.

His writings are then interrupted by a buzz coming from the door, and then a woman’s voice in an American accent speaking through a speaker.

WOMAN: Theodor, there’s something on the radar. You’d better come see this.

The man, as we now know is named Theodor, ceases his writings and gets up from his seat, setting his glasses down, proceeding over to turn off the record, and then over to a switch on the wall to communicate back through the speaker. He speaks in a tone that’s slightly husky with years of weariness, and perhaps with some kind of accent we can’t quite make out yet.

THEODOR: I’ll be there momentarily, Belle.

In the next shot, we are following Theodor as he walks, quickly and with a dignified demeanor, through the passages, some narrow and some more open, of a wider facility that looks very much like the office we just saw. We perhaps get some faint hints of the wails of aquatic creatures somewhere around. Michael Giacchino’s music accompanies the moment with a sense of suspense and advancement, as Theodor goes to attend this interruption. We catch glimpses of an octagonal logo on a couple of walls in Theodor’s walk, some of them with simply the word “SAMSARA”, others with the symbol of a black silhouette of a tree with fruits hanging from its leafy branches, on a white background (colors inverted against that of a typical DHARMA logo.)

Theodor quickly arrives at a room in which a few others, all pale and middle-aged or older, are huddled or sitting around a set of 90’s-esque computer consoles. A graying blonde woman, presumably the Belle we heard before, is standing over them in a commanding position (actress indeterminate, use your own imagination). Theodor leans in to look at the screens.

THEODOR: What have we got?

We see various panels of data across the screens: most notably on one screen, an asterisk-shaped mark flashing on what looks like the outline of a map or grid, with the sound of a buzz (perhaps a little similar to this, but slightly longer, more high-pitched, more computeresque) with each flash. The music growing louder with suspense. Above the blinking mark, we see the words written out:

“MAGNETIC ANOMALY DETECTED”

A short thin middle-aged man with a vaguely technical or puny look about him (actor indeterminate, use your own imagination), sitting at a computer seat, turns to look at Theodor, and speaks in a nasally tone with a flash of alertness in his eyes.

COMPUTER MAN: Something big’s come through in Sector A.

Theodor nods, holding his commanding demeanor.

THEODOR: Very well, send the team in to investigate. Keep me posted.

He gives a knowing nod to the blonde woman next to him, and she nods knowingly back and goes to carry out his order.

We then cut to a moment some time later, when Theodor is continuing to walk through the halls and rooms of the apparently underwater facility, other people wandering about as well, all with the same logo on their clothes, all in about the same age range. As he continues, his name is called again on a speaker.

BELLE: Theodor, they’re here. You need to come see this.

Theodor stops and presses a switch on the wall to speak back.

THEODOR: Very well.

BELLE: And Theodor -- it’s Asset H .

Theodor looks surprised and mystified in his eyes, but already calculating the next move.

THEODOR: Understood.

In the next shot, we are following Theodor in an outdoors setting at nighttime, the music amping up with more of a sense of danger. He is followed by several more of his men, including a tough-looking one following closely behind him (actor indeterminate, use your own imagination). They are all armed. A series of surrounding bright lights illuminate the environment, with industrial equipment and buildings surrounding the area.

An armored truck backs into the area. The middle-aged woman from before is waiting out here, and Theodor and his security men come to a stop. The truck also stops, and very tough soldier-like men step out hurriedly, along with other soldier-like men coming from a couple of other vehicles. One of them seems to be in a leading position among the troops (actor indeterminate, use your own imagination). Theodor begins to shout, pointing at all of the men around:

THEODOR: ALL OF YOU INTO POSITION AROUND THE TRUCK, RIFLES READY TO FIRE!

We see a couple of the men trying to look through the slit-like windows of the armored truck, anxious looks in their eyes, before going into position to surround the truck, their rifles ready with clicks. We are left to wonder what is in the truck. The music getting heavier with suspense.

THEODOR: IF THE ASSET MAKES A HOSTILE MOVE, FIRE IMMEDIATELY!

As we hear more of Theodor’s voice, it becomes more clear that his accent is perhaps faintly German, but has been gradually lost to the years of living amongst English speakers.

We now see all of the men standing frozen into position in a circle with their rifles all clicked and ready, aimed towards the back of the truck. The music getting more dangerous with suspense.

THEODOR: Open it!

A couple of men go to maneuver the back door of the truck, pulling it downwards into a ramp onto the ground, before quickly stepping back into formation with guns aimed.

We hold several more tense moments of a suspenseful piece getting higher and heavier with anxiety, getting glimpses of various men holding their rifles in place towards the open back of the armored truck.

The music gets higher and higher, heavier and heavier, as we can only wonder what on earth they have captured, what devilry or dinosaur is being contained inside that armored truck?

And finally the music cuts into silence, as Theodor steps forward in front of some of the men, facing the back of the armored truck, and in a commanding tone --

THEODOR: Step out!

We then hear the clunking footsteps of something coming out, stepping out of the darkness onto the ramp --

And then we see -- none other than Hugo “Hurley” Reyes”, his arms held up in surrender -- with a lighter air, a variation of Jacob’s theme (0:00 - 0:33) and his flash-sideways theme suddenly playing as he steps into the light, breaking the tension. Slightly older than last we saw him, but better aged than his fellow survivors, and wearing a brownish-green shirt and beige pants.

In contrast to all the hawkish hostility surrounding him, Hurley comes bearing a friendly smile on his face.

And as the music comes to conclusive note, he declares:

HURLEY: I come in peace.

The screen cuts to black.

L O S T OPENING LOGO - normal version

[Commercial Break]

The scene begins with the camera up close on the right side of a white bow of a boat sailing quietly across ocean. The camera quickly swings around the starboard, and pulling out to get a full view behind the sailboat as it heads in its destination. Parting Words (starting 2:52) begins to play triumphantly as we see the name “ELIZABETH” written on the stern of the boat. Soon the camera has pulled out into view showing three figures standing upon the boat -- and the Island, the one we’ve known from the beginning, in all its majesty, awaiting ahead.

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. 3 undetermined guest actors, 1 undetermined guest actress. Special Guest Star Sam Anderson, Special Guest Star L. Scott Caldwell, Special Guest Star François Chau, Special Guest Star Kimberley Joseph, Special Guest Star Harold Perrineau. The rest of the credits also listed.]

We are then on the boat with its three inhabitants -- Hugo “Hurley” Reyes watching ahead with a smile, Benjamin Linus at the wheel also with a satisfied smile, and Walt Lloyd looking ahead with a grin as one who’s finally found something’s he longed for.

Hurley turns to the others.

HURLEY: We’re home.

We see a few more moments of the Elizabeth sailing towards the Island, before cutting to the point of view of the survivors’ old beach camp, the sailboat anchored in the ocean in the distance, and Walt, Hurley, and Ben paddling in a dinghy towards the beach. The camp looks much more cleaned up and renovated in some places from the abandoned ruin we last saw.

We then see a shot of several familiar faces warmly welcoming the sailors back to the beach -- Rose Nadler and a more trimmed Bernard, and Cindy Chandler, as well as several unnamed of Hurley’s people. The three pull up onto the beach and go to greet them.

As they converse and catch up in a bit of a huddle, Rose greets Walt in particular.

ROSE: My, you’ve grown!

Bernard knows someone Walt would really like to see.

BERNARD: Where is that dog at?

He whistles.

BERNARD: Come here, boy!

We then see a slightly slow-motion shot of Walt stepping and looking through the huddle, the music softer, and we then see, rushing out from behind some of the encampment, with the sound of barking, the bright yellow labrador retriever.

WALT: Vincent!

Despite Walt’s growth and age, the dog seems to recognize him in his face, the music getting heavier as he’s rushing over to Walt as he crouches down to hug Vincent, who he had last seen trying to follow him in the ocean on the raft years ago.

We absorb this scene for several moments, the young man and his animal embraced, finally reunited. Both joyous.

The music then begins to quiet, as Cindy has some news to break to Hurley and Ben.

CINDY: Hugo… Janet didn’t make it.

Hurley’s smile fades, and Ben looks particularly saddened in his eyes. Walt, standing again, turns to them.

WALT: Who’s Janet?

We get a last shot of Hurley and Ben’s expressions, as well as the saddened and dissatisfied expressions of several of Hurley’s people, before the scene cuts just under a canopy somewhere on a beach. Hurley, Ben, Walt, and Cindy go to examine a sheet concealing what is outlined underneath as a woman’s body, which rests on a cot. Hurley and Ben have mournful expressions, having known this person, though we like Walt don’t know her.

BEN: Women can’t have children here on the Island, it’s been that way for many years. We’ve never found a cure.

Ben looks particularly troubled out of everyone in the room. This has long been his obsession, which he has never overcome. But Hurley also looks troubled in a different way, frustrated that he himself can’t do more.

WALT: Then why not just have them off the Island?

BEN: That’s what Hugo decreed everyone start doing in the past few years. But Janet… She was a true believer in the Island. She wouldn’t leave.

Walt looks on thoughtfully for a moment.

WALT: Is there anything I can do to help? You guys said you had a job for me here.

HURLEY: Not with this.

WALT: Then what do you want me to do?

HURLEY: We brought you to help us bring peace to the Island.

Hurley glances at the sheeted body of Janet one more time, before looking back to Walt.

HURLEY: We’ve still got a ways to go.

We see one last shot held for a moment on Walt’s expression, nodding and pondering what his purpose ahead is. We then wooooooooosh to:

The camera is on Walt’s face as he stands, remembering his first arrival on the Island, as he gazes out through the gray environment of the jungle of Island 2, as it seems a pale world offering him no new insight into his purpose. It’s daylight and the sound of chirping wildlife can be heard.

The area looks drenched from rain, and his new companion Diya is somewhere behind Walt standing at a tree with half a coconut like a cup, sliding rain water from leafy branches into it. Both of them look a bit muddied in their bright clothes - Walt has been wearing a white shirt, and Diya just as well has on a white shirt.

Walt turns, and she then hands the coconut to him. He drinks the water from it, as she pours her own into another half coconut. She appears quiet and thoughtful, with a certain enigmatic quality about her, and perhaps we get a sense of something in her eyes that she’s held a deep burden. Also, she has a desire to hear more from her new companion.

DIYA: How did you get to this island?

WALT: I came here with my friend Hurley. That’s why I’m trying to find him.

DIYA: Who is he?

Walt tries to think of how to explain their convoluted origins in a simple way.

WALT: He protects another island like this one, in the Pacific.

She nods, understanding. Walt, sharing curiosity back, returns her first question.

WALT: How did you get here?

We see in a flash of her eyes a weariness of time, for how long it’s been since she arrived.

DIYA: I was brought here, many years ago. … I was apart of a group of scientists. Called SAMSARA.

This has an unmistakable ring of familiarity to Walt.

WALT: Is that like DHARMA?

She nods, and then explains:

DIYA: I wasn’t in DHARMA. But I know in the late 70’s, they had an incident -

We hear a musical note as she says that, reminding us that we are indeed familiar with such an incident.

DIYA: - and it rocked them. It rocked the Hanso Foundation. … The DHARMA Initiative was considered untenable. So, SAMSARA was launched. … But I didn’t join until much after that.

Walt nods, finding this information enlightening. He then points to her half-coconut of water, which she hasn’t yet drank.

WALT: You haven’t drank your water yet. You need it.

There is a subtle flash of surprise in her eyes, as she hadn’t even thought about the need for it. She then starts to sip from it, before commenting.

DIYA: It’s important we find your friend soon.

Walt is a bit surprised by this special concern.

WALT: Why are you helping me?

Diya smiles and then confesses:

DIYA: I’ve been alone out here too long.

We hear a softer musical beat to this.

DIYA: Have you got family?

Walt has a certain sadness but also peace in his eyes thinking on his answer. The soft music continues, and Walt just shakes his head.

We can see remorse in Diya’s eyes for Walt.

DIYA: I’m sorry. … My family is gone too.

We can see the heaviness of a past regret in her eyes. And she states, in a way that almost seems to perfectly relate to Walt:

DIYA: My relationship with my father turned ill.

Walt thinks on this, empathizing from experience. It strikes a particular chord with him.

DIYA: What happened to your father?

Walt thinks on this -- the long history of pain, regrets, but peace and forgiveness as well.

WALT: My adoptive dad never wanted anything to do with me.

Diya listens to him, reciprocating the empathy.

WALT: And my real father...

We see the camera held on his face as he thinks back, and we wooooooooosh to:

We are on Walt as he walks through dark surroundings. It is nighttime, somewhere in the lush green jungle, the ambient sounds of crickets and wildlife all around. The Island evokes a sense of lively mystique. Walt is accompanied by Hurley and Ben, the two of them carrying flaming torches, lighting the way ahead as the three of them journey through.

Hurley pauses the trio at a small clearing, holding his torch upright.

HURLEY: We’re here.

Walt looks a little anxious.

WALT: How long are we gonna have to wait?

We then hear the ominous sound of whispers (0:00 - 0:06) ahead from the distance. Hurley nods his head knowingly in that direction.

Walt slowly, apprehensively heads closer in the direction the whispers came from, a few beats of music evoking the suspense of the night jungle. As Walt steps closer, shoes cracking on the roots on the ground, we then finally see -- Michael Dawson, stepping out from the darkness.

With a softer, sentimental sequence of Michael and Walt’s theme , we first see the camera held on Walt, his eyes conveying a deep sense of resolution, gladness, and forgiveness, for a son long looking for his absent father. The camera is then on Michael’s face, ridden with a jaded guilt, but also the love and joy of a father reunited with his lost son, and impressed to see how much he’s grown from the child he last saw.

And then Walt simply says -

WALT: Dad…

And he embraces his father for a hug, who returns the hug back tightly. The music getting heavier. Both of them in tears. After a couple of moments, Michael, replies back -

MICHAEL: Walt, I’m sorry for everything I did. Everything I put you through.

WALT: I forgive you, Dad.

After another moment, the two calmly break their hug, the music softening again. He then turns to another question on his mind -

MICHAEL: What are you doing back here?

WALT: I came back here for you...

And then he says, with a tone of some gratitude, and with a reference to multiple things from their lives:

WALT: Like all those times you came for me.

Michael smiles, hit with a deep resolution his spirit has needed for years. Walt then says with some confidence of his purpose, masking previous doubts:

WALT: This is where I’m supposed to be.

Michael smiles and nods, happy for his son to have found something, if not what he idealized for him before.

MICHAEL: I’m sorry I wasn’t apart of your life.

WALT: We’ve got time now.

Haunting guilt returns to Michael’s eyes, and he starts shaking his head.

MICHAEL: I can’t make up for killing them .

WALT: You can forgive yourself, Dad.

Michael nods, a spark of hope returning to his eyes, in wonderment of his son’s optimism of this place. Walt then turns to raise another, more casual topic of conversation -

WALT: I went to see the Flatiron Building.

Michael laughs.

MICHAEL: Did you, what did you think about it?

As the two converse in the distance, the camera is back on Hurley and Ben standing together, observing. Hurley has a smile on his face, joyed to see two of his friends get the closure they’ve long needed. On the other hand, we can see in Ben’s eyes that he can’t see Michael - he can only infer what’s happening.

And we hear a final soft note, before we conclusively wooooooooosh returning to the present:

We are now on a shot of the band of survivors on Island 2 - Ben leading, with Kate, Sawyer, Claire, and Miles behind - walking along the daylight trail of a sandy white beach for a couple of moments. We then quickly see, coming into view, a stunning sight on the beach:

Up on a rocky plateau on the beach, there is what appears to be the destroyed remnants of some structure, that built along the edge of the plateau, across the wide channel of water separating this islet from another one close in view on the other side of the channel. There are broken remnants on the respective islet, and some chunks of debris sticking up in the water. The pattern seems to resemble something of a bridge. There is also the broken remnants of what looks like a booth that may have operated it. We can only wonder if it was all destroyed by nature, by man, or by a supernatural force.

We get a closer view of each of the five survivors as they inspect the view of the remnants, with a look of curiosity on each for the sight of destruction before them.

MILES: Well, we won’t be going that way.

KATE: There might be another one down the beach. This isn’t the only other islet.

Ben nods in agreement.

KATE: Where are we going, Ben?

Rather than leaving this question mysterious like we might expect, we can see in Ben’s expression that he’s preparing an answer. He points to the dry bag Miles is holding.

BEN: Hand me that, Miles.

Miles hands him the bag, and Ben looks in and searches through it until he pulls out a slab of paper and a pen, then handing the bag back to Miles. Ben then draws on the paper.

BEN: We’re looking for a station.

MILES: Like a DHARMA station?

BEN: Something like that.

He then finishes drawing, and turns the paper for everyone to see. It’s a symbol similar to that of a face with a pointed nose and a triangular hat with a ring on the side and a pointed top.

BEN: We’re looking for a station with this symbol.

SAWYER: So we should be looking for it here on this islet?

Ben shakes his head.

BEN: No, the information I’ve been given is that we should expect it somewhere more industrialized.

Ben motions to the other islet across the channel, where we can see signs of industrialization across it.

BEN: Like there. Or one of the other islets. Have you noticed that this one has a high presence of vegetation?

SAWYER: We’ve seen signs of technology here.

BEN: But not enough.

We can see in Sawyer’s expression a frustration about not being able to stay on this islet, which we know must be out of a desire to find Walt.

CLAIRE: Yes, and I don’t fancy us staying here with the Monster.

The others (except Sawyer) exchange nods of agreement to Claire’s remark.

BEN: We’d better find another way across.

And with that, Ben continues to lead on down the beach, the others following him, though Sawyer clearly unhappy with the course of direction.

We then cut back into the pale grays of the jungle, as Walt and Diya wander through. She keeps up the conversation allowing them to get to know each other.

DIYA: Why did you come to this island?

Walt shrugs and thinks for a moment as they walk.

WALT: I’m trying to find my purpose.

He then stops for a moment, and she stops also. And he confesses:

WALT: I’ve always been told I’m different. There are crazy things that happen around me, things that I can do. But I’ve never really known what for.

Diya nods.

WALT: Why did you come here?

She thinks on her answer for a moment, and then says to match his:

DIYA: I used to study the phenomena of crazy things. Including people with gifts like yours.

Walt reflects on this. She is at least a decade or so his senior, and has a wisdom about her. He almost wonders if she could be some kind of mentor for him in his ability.

She then adds, with a tint of regret, but then with a tint of peace:

DIYA: Ambition brought me here ...But I found purpose instead.

We see the camera held on Walt’s face as he thinks on what she said, before we again wooooooooosh to:

It’s daylight, and the Island is thriving with life, trees lush and green, wild birds singing in the canopies above. The jungle evokes a golden mysticism and benevolence. The camera is on Walt, alongside Ben, as they wander through.

BEN: So, you have you seen your father anymore?

Walt shakes his head, but smiles.

WALT: I think he found what he needed. He was able to move on.

Ben smiles, but remarks with a nuance of somber:

BEN: It’s always wonderful when a child and parent can reconcile.

The two come out of the trees, looking across the majestic vista of the Island. They gaze out at it for a moment. Ben admits a concern to Walt:

BEN: Some people here are beginning to have doubts about Hugo. They feel he hasn’t been able to perform miracles - at least not in the way they expect. The sick and injured are still dying.

Walt looks perplexed that people would have such high expectations on Hugo.

WALT: There’s only so much one person can do… How can I help you guys?

Ben glances to him for a moment.

BEN: That’s for you to figure out.

WALT: What?

BEN: It’s better when you follow this sort of thing on instinct.

Walt is confused and perhaps a little frustrated.

WALT: But you brought me here! I thought you had a plan.

And then a momentary pause, before Walt then says -

WALT: Especially when you kidnapped me. You made me take those tests in that crazy room.

A flash of regret sparks through Ben’s eyes, but he knows the answers Walt needs to hear.

BEN: The Island grants some individuals with gifts. When I was leader, and when others were leader before me, we always tried to find the gifted to bring here.

Walt nods, taking this in.

BEN: They’re special - more connected to the Island. They have the ability to do great things here, once they’ve found their purpose. They’re always in positions of leadership.

Walt looks ready and eager to find his own purpose. Ben looks back across the vista. We see a shot of the two of them standing there, looking out at the vast majesty of the Island.

WALT: So what about you?

A pause of thought, as a few soft beats similar to Ben’s theme begin.

BEN: I used to see visions - of my mother. She died when I was born.

Walt nods, relating to growing up without a mother. Ben then adds:

BEN: I used to have dreams . ...I stopped having such experiences.

Ben smiles with contentment, looking out still. His theme begins to play more prominently but quietly.

BEN: But I found my purpose, helping Hugo.

The music quiets into silence. Suddenly, their attention is caught by some kind of low animalistic groaning in the distance behind them. They turn their heads to look towards the jungle, then exchanging glances of concern. We see one final shot on Walt’s expression, Ben’s behind him. Then we cut to black.

[Commercial Break]

The music is frantic and urgent as we see Walt running through the vibrant green jungle of the mystical Island, hurrying desperately as fast as he can, carrying something. We soon see the big lump that he’s carrying - Vincent, unconscious, as we get a fleeting glimpse of blood from the dog’s side.

Walt soon comes upon the beach encampment, as he rushes through carrying Vincent. He shouts:

WALT: Somebody, I need help!

Hurley and several random people urgently gather around to help, as Vincent is brought to a table.

HURLEY: What happened?!

Walt barely manages to breathe out in his panic:

WALT: We were playing fetch, he fell off a cliff! I didn’t see...

One or two of Hugo’s people attempt to work with Vincent’s injury with a convenient bag of medical supplies near by. Hugo visibly tries to keep his nerve at the sight of the dog’s blood.

One of the Others helping turns towards Walt, with a pessimistic expression and tone.

UNNAMED OTHER: I’m sorry, but this looks really bad. … I think you need to seriously consider putting him down.

The urgent music halts into something softer but poignant, and we see everything in Walt’s face -- the heaviness of knowing there must be some other way, he can’t just let his longest friend be put to death. Walt shakes his head slowly, the urgency of this possible choice piercing his eyes. Walt barely manages out:

WALT: No, there has to be someth…

Walt turns to Hurley.

WALT: Hurley, is there something you can do?!

Hurley looks struck, caught in his own self-doubt. He stutters:

HURLEY: I-I don’t know, dude.

Hurley then looks intently at the gravely injured dog. We hear a more tense and soft variation of Hurley’s theme . He then says more softly with more confidence:

HURLEY: I’ll try.

The others trying to tend to Vincent move away, looking at Hurley expectantly, as he approaches the dog.

We see a shot of Walt’s tensed expression, and then Hurley’s as he struggles to find some nebulous power. Hurley then whispers to himself:

HURLEY: There is no try.

Hurley holds his palm against the unconscious labrador’s side. We are paused for a couple of tense moments on Hurley, he squeezes his eyes closed as he looks like he’s trying to squeeze out some power, tense music grinding with the moment.

And then with some doubt, he opens his eyes again, looking down with a frown. We see that nothing has changed, as the music declines. We get another glimpse of Walt’s faltering expression, before Hurley turns around, a somber and self-defeated look in his face.

HURLEY: I’m sorry…

We then hear more soft music, faintly reminiscent of Life and Death. Walt shakes his head, in denial.

Hurley’s expression remains ever defeated, as Walt turns around, his head down despaired as the reality of this situation begins to hit him. The music getting a little heavier but still faint. We see the expressions of the others around them, looking from Hurley to Walt to Vincent, some of them bearing saddened frowns and others veiled disappointment.

We see another shot of Hurley’s face, as he looks up. He looks as though he’s talking to someone up high. He seems to desperately reach out in his emotion. He whispers:

HURLEY: Please, dude… I can’t do this… But I know you can… I could really use something now, something...

We get one more shot on Walt, tears starting to come out of his eyes. He mutters lowly, as though praying as well.

WALT: Please…

The music remains somber, as we are held on Walt’s face for a few slow moments, before we hear the whining sound of a canine. Walt’s eyes open surprised, and he turns around.

We see the stunned expressions of the others as they watch, Hurley with his hand on Vincent’s side again. The leakage of blood seems to have stopped, as Hurley wipes blood away with a rag. The dog’s injury looks like it’s slowly healing. Vincent’s eyes are open again, as he has regained consciousness. He whimpers a little, but seems okay.

A more joyful but soft variation of Walt’s theme plays as he hurries over to his dog, grinning. Walt looks into his dog’s eyes, scratching behind his ears.

Hurley moves his hand away and turns, looking surprised by what he just accomplished. The music changes to a mixture of a variation of his flash-sideways theme and a variation of Jacob’s theme .

The others look pleasantly mystified, excited and vindicated at what they’ve just witnessed.

Walt is in laughter as he looks up to Hurley.

WALT: Thank you!

Hurley looks marveled, not at himself but something else. He looks down.

HURLEY: It… it wasn’t me.

He looks at his hand, with a bit of blood on it, but finds himself not unnerved this time.

We get a final shot on Walt’s joyful expression as he pets a panting Vincent, before the scene woooooooooshes to:

We are on Walt as he walks alongside Diya through the pale grayish forest of the second Island. They come out onto a clearing, and we see a familiar sight: the destroyed cottage that Kate and Claire stayed in from the previous episode. There is a large dead tree laying in the remnants.

The music is somewhat soft but repeating with hauntingly low beats in reminiscence of the Monster. We watch as the two examine the rubble for a couple of moments, especially with the camera emphasizing on Diya. She looks haunted in her eyes, and gets close to the fallen tree and holds a hand on it, looking at the dead piece of nature poignantly.

Walt picks up a hunting knife among the rubble and pockets it, before remarking:

WALT: On my island, there used to be a Monster like this.

Diya turns to face him.

WALT: The one that’s here, where did it come from?

We see conflict in Diya’s eyes, and she takes in a breath as she thinks over how to explain. The soft but haunting music continues, as she reveals:

DIYA: SAMSARA created it.

WALT: Where are they now?

Another pause, Diya’s eyes somber, before she reveals:

DIYA: After they did, it changed half of them. It drove them mad . … They wanted power, at the cost of destruction.

There are little haunting tones to the words Diya emphasized, and we might wonder if the second Monster had infected those people with a “sickness”.

DIYA: They killed the other half who kept their sanity.

There music is increasingly ominous as Walt takes this in. Diya looks up around at the wilderness for a moment.

DIYA: I’ve been out here ever since.

WALT: Why are you out here with that thing ?

We see a heavy burden in Diya’s eyes, before she admits:

DIYA: I was the one in charge of creating it. It’s my responsibility.

And then, she finally says:

DIYA: It’s my job now to protect this island.

And we hear for the first time something of Diya’s Theme. It is momentary, sounding like something of a mix of Classical Indian Music and perhaps a rearrangement of Jacob’s theme. It has hints of sorrow and also the faint dark thumps as though one haunted by the Monster.

WALT: My friend, Hurley, he’s like me. We might be able to stop it together.

Diya looks at him curiously.

WALT: Have you got any? You know, powers?

With a sense of conviction, she simply imparts, calmly:

DIYA: Gifts are a blessing. But be careful of ambition for power . It is a curse.

We see Walt considering what she just said, and we wooooooooosh to:

Walt and Rose are on the beach, the majestic ocean waves calmly brushing against the sand in the background. They are rubbing Vincent, who is lying happily on his side panting with contentment, healed and well.

As they are petting him, our attention is turned with them to the sound of people shouting in the vibrant green jungle - followed by that same animalistic groaning that Walt and Ben had heard on a previous day. The music gets a bit more urgently suspenseful, as Walt and Rose’s expressions change, realizing something is wrong.

WALT: Get Hurley, I’ll go see if everything’s alright.

Rose nods, Walt standing up quickly from the dog, heading around over to the jungle, and hurrying into it. The urgency of the music picks up as we get a few quick shots of Walt dashing through the trees of the jungle, the distant shouting and groaning growing louder, until Walt arrives --

We find Bernard and a couple of unnamed people inside a large rock tunnel, holding up knives, and they take notice of Walt’s arrival.

BERNARD: Walt, get out of here! Go get help!

And with a beastly growl , Walt turns around. An enormous, hairy white beast - a polar bear - is slowly approaching in a stalking manner, music now blaring with more horror. Walt looks horrified, and perhaps remembering a past traumatic experience. Walt grabs a knife from one of the people without a second thought, and he holds it aimed at the bear as it growls again.

But as he’s ready to stab it, some conviction is stopping him. We see in his face, his eyes, he believes he can do more . The music tense. Bernard and the others look terrified behind him.

Walt looks intently upon the bear. We see there is a scar visible in the hair of the bear’s face. It looks upon Walt ferociously and lets out a mighty growl. Bernard and the others look tense still.

But Walt finds something in himself. We see a sudden calm overcome his face. The music turns into some variation of Walt’s theme that is more mystical. Slowly, tensely, Walt raises up his arm, his empty hand towards the bear.

The music now calmed into this mystical theme, we see a shot of the bear’s face again, its eyes somehow starting to relax, less hostile. Its posture relaxing, as it breathes heavily.

Another tense moment as Walt slowly approaches the bear, somehow knowing what he’s doing, somehow knowing the mind of the bear. He approaches slowly, as does the bear slowly. Finally, the beast lays down, resting its head down relaxed. Walt’s hand meets the bear’s forehead, rubbing it. A soothed look in the tamed creature’s eyes as it shuts them a little.

The mystical music changes to a tone of more triumph, Walt almost in laughter of joy of what he’s just accomplished. Bernard and the others look surprised and mystified themselves.

We cut to a later scene back on the beach, music now silent, Hurley and Ben approaching Walt, Vincent laying faced forward near by. Hurley looks excited.

HURLEY: That was awesome, dude.

Walt smiles.

BEN: We’ve been looking for that bear for a while. We found his mate, a couple of years back. This whole time, he seems to have taken residence in that lava tube. Well, we’ve got him sedated, ready to be shipped back to Hydra Island.

WALT: ...I’m not sure that’s the right move. The bear’s lived out in the wild for years.

They each look thoughtful for a moment, before Walt has a new idea.

WALT: I think we should make a reserve for them, somewhere out here. Safe, but a place where they can roam.

Hurley smiles, liking this suggestion.

HURLEY: That’s a pretty good idea.

They look out at the ocean for a moment, watching as it brushes against the beach still.

BEN: Walt, that was really great work, what you did. I couldn’t believe what I was seeing - you with that bear, as if it were nothing more than your pet dog.

Walt looks still in some disbelief himself at what he achieved, not sure how to explain it.

WALT: In the moment, I just knew I could do it.

Hurley smiles.

HURLEY: I know what you mean.

Walt smiles back, recalling gratitude for his dog’s life being saved. Walt crouches down, scratching Vincent behind the ears. Hurley looks glad for Walt’s faith. Ben also looks optimistic.

BEN: Yes, I think the Island is only just beginning to bring you both into your power.

Walt looks on in realization. He then states slowly:

WALT: Maybe that’s what I’m supposed to do here, helping bring peace to the animals. The wildlife.

Walt keeps scratching Vincent’s ears, a peace coming into his eyes, that perhaps he has, finally, made sense out of what has made him different his whole life.

[Commercial Break]

The screen is dark for a moment - and we hear a familiar sound of a ringing alarm (4:34 - 4:35) - and then we hear the familiar sound of an alarm blaring with urgency.

The screen is then on Walt’s eye opening. But then we see a larger frame of this individual, and it appears to actually be not Walt, but Hurley - he is laying on a bed - a bottom bunk. As he quickly gets up, we hear a familiar ticking under the blaring alarm. We quickly recognize the bedroom -- it is in the Swan Station.

The alarm is suddenly getting very fast with desperation . But there is a solid metal wall blocking Hurley from leaving the bedroom.

Then -- we see a flash of images and sound effects -- just a fast-forwarded split second of blast doors lifting with a snippet of the appropriate sound effect. Before we can even think to process this, Hurley’s passage is suddenly open to the living area of the Swan. He hurries through.

In the living area, we see John Locke lying back on the floor in his familiar old light brownish shirt and gray jeans, a gaping bleeding wound in his right thigh , as he is lying in the open door passage to a hallway, a busted toolbox and a stack of weights on either side of him. The scenery looks a bit blurry.

Hurley hurries over to check out Locke, but there is another split second flash, a fast-forwarded image of the blast doors coming down with the accompanying sounds of of the ringing alarm . And for a brief second, we see Locke with the blast door stuck against his legs . Then with another flash, we see the quick image and hear the quick sound of the doors coming up again. Music growing more mysterious and suspenseful with the continuously blaring alarm of the timer.

A passage toward Hurley’s left side now visibly open, we can see Ben in the dome room, looking bruised in the face, his orange shirt torn open around his shoulder, a bandage on it. Hurley goes into the room quickly. Ben is standing in front of the computer, a dark screen with a green “>:” and blinking cursor. Ben is staring up curiously at the countdown timer which only has about 15 seconds left. And we recognize that this is a side of the scene that we’ve never seen before .

With another split second flash , we see the doors come down again with the ringing alarm. And then we see Hurley standing sealed in the room, observing Ben, who doesn’t seem to take any notice of his presence.

We then hear a familiar voice calling from the other side of the blast door through the timer’s blaring alarm, with a suspenseful piece of music both mysterious and urgent. In fact, we are hearing the same audio from the episode Lockdown .

LOCKE: HENRY!!

Then we see the timer hit 0 -- and with a loud clunking and a loud magnetic humming beginning to ignite, the digits begin to flip into a series of red and black panels, starting with an eerie symbol of a bird, and then more hieroglyphics. Ben quickly then hurries to type the numbers on the keyboard. We see each one appear across the screen: 4 - 8 - 15 - 16 - 23 - 42. Then we see Ben’s finger hit the EXECUTE key.

LOCKE: Henry!!

And with that, the light buzzes out, the room completely dark. With another flash, we see the split second image and sound effect of the doors coming up again, before we’re back in the darkness of the room. We hear Hurley’s footsteps hurrying back into the living area, before we hear see the image of the blast doors lowering once again with a ringing alarm, before back to darkness and silence.

LOCKE: HENRY!! … Please say something!

And at that very moment, ultraviolet lights suddenly flicker on in the dark living area. We see Hurley looking around in confusion, the violet blue lights barely illuminating his anxious face in the dark room as he wanders through.

We hear the very same eerie music from the original scene, and some of the very same frames of Locke’s stunned expression. But a keen eye may recognize they there are also frames of new footage of Locke and the scenery mixed in with the old footage, especially of Hurley approaching from behind Locke.

We then see the familiar blast door map with the familiar circular diagrams, the big ? , the scribbling notations. We see the mystified expressions of Locke and Hurley, a very split second frame of the map reflecting in Locke’s eye (at much shorter length than the original frame from the original episode) and then a frame of the map reflecting in another’s eye. (Not Hurley’s, but as a careful pause examination will reveal, is Walt’s eye.)

Hurley is then startled as a hand grabs his wrist - Locke’s . Locke is aware of his presence in the room. He turns his face to look up at Hurley, both of them barely illuminated by the blue light. The music extending on longer than we heard it in the original scene.

Hurley then begins to speak - except it’s not Hurley’s voice coming out of his lips, but Walt’s voice.

HURLEY (WALT voice over): Mr. Locke, what’s going on?

Locke looks at him, a mystique in his eyes. He raises his other arm and points his finger towards the left-lower-middle corner of the violet-blue octagonal shape encompassing the map. He then speaks to Hurley in a whispered but urgent voice, a flash of determination in his eyes.

LOCKE: Walt - get Hugo! You have to find this...

Hurley tries to examine more closely the part of the map Locke is pointing at, but then the lights flicker back into darkness again.

And then suddenly - Walt awakens in his cot! We now recognize Walt is laying under some leafy tent in the dark. The entire re-experience of the lockdown incident, was all in his dream. We see in Walt’s eyes as he takes in everything he just saw. He quickly hops out of his covers --

We are now at the debris site of the imploded Swan Hatch . It is lit with big lights set up all around, making it clearly visible to the observers onlooking. The Swan’s theme is playing audibly at first, but growing fainter. Several vehicles operated by Hurley’s people are situated around, attached with pulley ropes, yanking pieces of debris and junk out of the the rubble of the Swan, the vehicles driving into the lively and mystifying nighttime jungle trees. The camera closes in on Walt, Hurley, and Ben standing together, overlooking the large pit.

HURLEY: So… you were me in the dream?

Walt nods, mystified.

WALT: I think it was meant for you. [looking to Ben] You were there, too, Ben.

Ben nods, remembering the lockdown incident from so many years ago.

BEN: Yes. What you dreamed, it actually happened, when the Oceanic survivors had me imprisoned down in that station.

WALT: How could I dream that?

Ben looks at him, thinking it’s obvious.

BEN: Well, of course, it was the Island that showed you.

WALT: But why did it show it to me, if it’s for Hurley?

BEN: Clearly because you were meant to be apart of this, along with Hugo, and me. Whatever the Island wants us to find, you’re an important part of it.

Walt nods, and the three of them then see a large, flat metallic square is then pulled from the debris by a vehicle, up the slope of the pit. As it’s pulled up, we hear the music of when Locke found the orientation film .

BEN: It’s amazing how that thing managed to survive the implosion.

HURLEY: This has gotta be it.

The music elevates dramatically as the three watch as the flat metal door is dragged up. (1:09 - 1:15 from the previous track)

We then cut to them as they approach the flat metal door, Walt now holding a big flashlight which is emitting ultraviolet rays. He lights it across the large slab of door, scanning across and all around it for the section he was meant to see in the dream, as the blast door map is gradually revealed all over under the blue light. The same ominous music from when Locke (and “Hurley”) were seeing it is now playing again.

Moving from notations written at the upper-diagonal-left line side, Walt moves towards the center until he has a straight alignment of the ? symbol.  Finally, he then shifts the light below to the diagram of the Swan Station (a bubble arrowing at it which reads “I AM HERE.”), and finally Walt then moves the light over to the pointed left-middle-lower corner of the overall octagon shape surrounding the whole map.

WALT: Here.

At that corner, we and they can see, the notations written diagonally, up close and clearly for the first time:

ALLEGED LOCATION

OF ABORTED #7

    LARGE NUMBER OF

UNDERWATER SPRINGS/

HEAVY WATER TABLE   .

We see Walt, Hurley, and Ben exchange perplexed and mystified glances to one another. We then see a shot from behind them as they stand over looking down at the map. We see the side of a shadowy silhouette, resembling Locke’s profile, sitting behind the three of them, at the foreground of the camera. Walt begins to turn around to look, sensing a presence behind, but when he looks, we see no one there.

He looks confused and mystified still in his expression, for a moment, before he returns his glance back to the map. The camera still on his expression, we wooooooooosh to:

The camera is on Walt’s face, as he has his hand raised behind him, holding the hunting knife he picked up earlier. There is a moment as he tries to look at his target - and then he throws it, awkwardly.

We see the handle of the knife bounce off the knot of a tree, to no avail. Walt goes to pick it up in disappointment, as we see Diya laying wood down in the back. The gray, pale environment surrounding them all around. It’s near sunset.

WALT: Do you know of any place Hurley might have taken refuge in?

Walt turns and holds the knife again to aim it at the tree. We see Diya looks wary.

DIYA: To be honest, he may have been captured by SAMSARA.

Walt tries to throw the knife again, but it awkwardly smacks and falls from the knot again. Walt looks to Diya.

WALT: Do you know of any way we can get him?

Diya shakes her head. Walt goes to pick up the knife again. The camera is held on him for a moment as he bends down and reaches it, and we sense something behind the camera. He stands up with it and turns, and his face turns to surprise! Pleasant surprise! And to our surprise too, we see --

John Locke ! Bald, and wearing the same clothes we saw him wearing on Flight 815 - the white shirt with stripes, beige pants. Though ironically he also bears the faint scar down his right eye from after the crash. Most notably, though, we see that he’s sitting in a blue wheelchair, just there in the middle of the forest. He has a warm smile for Walt, though we can also sense something defeated about him in his body language. His appearance is accompanied by a soft variation of his mysterious motif (similar to 1:20 onward, but mildly warmer in tone) .

Walt goes over to greet him.

WALT: John!

He reaches out a hand to shake, and Locke takes it, still smiling. Locke’s motif continues to play throughout the scene, softly and sometimes quieting into short intervals of silence during lines.

LOCKE: Hey, Walt.

We get a quick flash of Diya’s expression, one of some confusion. Walt looks up to her.

WALT: Can you see him?

She shakes her head, though she isn’t unnerved, as though this sort of thing isn’t so much a surprise for her. We then see a quick shot from behind Diya’s head in Walt’s direction, where he seems to be standing over empty air.

DIYA: I’m afraid I can’t.

We’re back at Walt, with Locke in his wheelchair in view, as Walt looks back to him, and his smile has relaxed. He points at Walt’s knife and at the tree.

LOCKE: Are you going hunting?

Walt shakes his head in a friendly manner.

WALT: I try to help the wildlife now instead of eat ‘em.

Locke nods with eyebrows raised, thinking that’s a nice outlook. As the conversation continues, we may notice Diya still watching curiously in the background.

LOCKE: It’s a good thing, ‘cause I haven’t seen anything out here.

WALT: John, do you know where Hurley is?

With a slight frown, Locke shakes his head.

LOCKE: I saw him held captive in a cell a few days back. But I didn’t see him there again. I think he got out.

Walt nods, though a bit confused by where and when Locke would have seen him, the music turning an air of mysterious for a second. Locke keeps his head held down for a moment, looking a flash down in his spirits, which Walt notices.

WALT: Is something wrong?

There is a pause as we are held on Locke’s expression. He holds up his hand to his chin a bit anxiously as he looks around. The tone of the music turns a little more somber. He confesses what is on his mind:

LOCKE: This place shouldn’t be here.

WALT: What do you mean?

We can see in Locke’s eyes that he is a man shaken in his faith. He struggles for a moment to find the words. And then he explains:

LOCKE: I always believed that all roads led to our Island. I thought it was the most important place in the world.

Walt listens intently. Locke’s voice quivers a little.

LOCKE: ...How can there be two ?

Locke looks up around at the environment in a deep bewilderment. Walt doesn’t know how to answer his question. Then Locke waves his hand and changes his tone.

LOCKE: Ah, it doesn’t matter. So what are you up to here?

Walt then looks down at the knife.

WALT: I’m trying to get my focus back. So I can find Hurley.

Locke’s smile returns, and reminds him of his sage wisdom:

LOCKE: Remember to see it in your mind’s eye. Hold a good picture of the tree in there.

Walt nods, and then he turns back to face the tree again. We watch as Walt holds the knife in place for a couple of moments. We see a shot of Locke’s expression as he watches with confidence, waiting to see if Walt hits the tree. We also see another shot of Diya’s curious expression as she watches. The music still soft but tense with Walt’s determination.

And finally, Walt swings his arm, throwing the knife forward. And we see it strike right into the knot - thus Walt has regained his focus.

In the next shot, it’s nighttime, crickets chirping in the forest, the music stopped. The area is dimly lit by a small fire. Diya is sitting, staring off into it pensively. Walt is lying near, asleep.

We see that Walt is particularly turning and twisting in his sleep, almost saying things as he sleeps.

We then see a shot of something blurry and dark as the camera swings a bit left and right around it, a fuzzy obscure sound accompanying it. We can’t entirely make out what it is yet. Music starts to play again, something low but vaguely dark.

We see another shot of Walt in his sleep, reacting to whatever he’s dreaming. We get a sense that the blurry image we saw is what is in his dream. The low music, getting slightly louder, reflects his subconscious distress.

And then we see the blurry image clear up into something solid: it’s a canoe being propelled across water, the fuzzy sound now clearing into the sound of the motor. We can make out someone sitting in the canoe. It’s nighttime like it is at Walt and Diya’s spot.

The camera is then at the front of the canoe, raising up. It’s clear that this is no longer from Walt’s point of view but a general point of view. The camera lifts up and we see that it is Hurley who is riding in the canoe, accompanied by a revelatory musical note. He’s wearing the same clothes brownish-green and beige clothes we saw at the start of the episode. He looks a bit panicked, as he looks back behind him. We see in his eyes that he’s afraid he’s being followed. We hear a suspenseful and revelatory variation of Hurley’s Numbers theme (1:26 - 1:48) as he turns back to face ahead of the canoe.

We start to notice he is saying repeatedly under his breath:

HURLEY: Four, eight, fifteen, sixteen, twenty-three, forty-two...

As he keeps repeating those numbers, suddenly an ARM SPLASHES out of the water in the darkness, startling us as it startles Hurley, GRABBING HIS WRIST with a thumping musical note of fright.

Hurley lets out a yell and flinches back. We see on the side of the canoe, the arm and another hand coming out, and the person lifts himself out of the water - it’s Walt . Realizing who it is, Hurley helps Walt into the canoe, as Walt gasps for air. A soft variation of Hurley’s Numbers theme still playing.

HURLEY: Dude! What are you doing in there??

Walt lays in the canoe and leans himself up, soaking wet.

WALT: I don’t know. I’m dreaming, and I’m here! … Where have you been??

Hurley looks back again, before looking at Walt.

HURLEY: I’m trying to get away from people who are after me!

WALT: Where’s north?

HURLEY: Uh, I think it’s that way.

Hurley waves his hand to the front-right of the canoe. Walt, looking from that direction, turns and faces the left side of the canoe. We can make out in the dark an islet with forestry on it. Walt points in that direction.

WALT: That’s where you need to be headed! That’s where we are!

Hurley nods and reaches to adjust the motor. When he turns back, Walt is suddenly gone . An eerie musical note. We get one last shot of Hurley’s eyes as he understands, and he realizes he is alone again.

We cut back to the middle of the forest, Diya at the fire and Walt lying asleep. And suddenly Walt jerks up awake. Diya turns to him concerned.

DIYA: Are you alright?

WALT: I found Hurley! We need to get to the beach!

Diya quickly stands up with Walt, and we hear the escalation of a musical trombone as the scene cuts to black.

[Commercial Break]

We are on Walt as he follows Hurley and Ben through the jungle, the Island alive in its vibrant green majesty. We see that Ben is following a transcribed drawing of the blast door map on a piece of paper he is holding. In his other hand is a compass. We also see that some of Hurley’s people are following behind them.

They then come to a halt behind Ben. We see the compass needle spinning a little crazily.

BEN: I believe we’re here.

He’s looking intently ahead: there is an opening from the jungle out to a clearing, some distance away is a cliff overlooking the ocean. There is a slump of rocky mound in the middle of the jungle. There is a solid, slim sheet of stone going down the side of it that they are facing. Ben, Hurley, and Walt approach it more closely, and feel the wall up, examining it. They need something to break it open.

We then cut to a shot that is some time later -- a vehicle is near by with a spike attached to the front. One of Hurley’s men is driving, and drives it straight into the solid stone wall of the mound.

While the vehicle is working, Walt takes notice to a patch of land near in the clearing in front of the mound, noticing faint white outlines in the grass. Before Walt can make anything of it, though his attention is turned back.

We see that the solid stone wall on the mound is cracking open as the vehicle starts to pull away and pull a bit forward again, continuing to force the wall apart. Walt, Ben, and Hurley examine through the open crack as bits of stone crumble apart.

We then see a pair of dirty metal doors - elevator doors - revealed in the opening. The familiar DHARMA octagonal logo painted on the middle between them with a rectangular symbol in its center. (And an observant viewer may notice that it’s the same symbol as the Others had borrowed for their decoy DHARMA doors at the end of Season 2.) A theme of mystique begins to play.

Hurley proceeds forward and pushes the dirty doors open, revealing a dark passage. He steps slightly into the passage and feels for a lightswitch along the wall, grabs it and flips it. The electricity buzzes through the old light bulbs, giving a dim light through the passage, revealing a staircase.

We see the three proceeding down the staircase as it begins to curve down into a lower room underground. In this room is a couple of benches, and at the left wall next to the end of the staircase, a pair of elevator doors. The three turn to the doors, and Hurley pushes the down button. They wait a moment before the doors open, step in, and the doors close.

We get a sense that they’ve traveled down some distance before the doors open again, and it takes them to a larger round room. It is dark, dimly lit by some force from the other end of the room. Ben reaches for a switch and flips it, and the room buzzes with illumination: inside consists some generic furniture, desks and drawers and bookcases, a television set, sophisticated-looking equipment, doorways that presumably lead to additional rooms, and a series of old 80’s computers and screens at the opposite end of the room at a large window showcasing a flickering light. We also see some old papers with the numbers 4, 8, 15, 16, 23, and 42 written across them, which Hurley glances at for a moment with interest.

The music remaining with an ominous enchantment, the three proceed over to look through the window. They can observe what appears to be a cavern, and what looks like a shimmering, flickering light in a spring below. We can faintly hear a low magnetic humming (5:47 - 5:57) from the other side. Hurley turns to Ben.

HURLEY: So you never knew about this place?

Ben shakes his head sincerely, looking as amazed at the rest of them at the secrets this Island continues to bestow.

WALT: Look at this.

Walt is holding a video tape he found marked “ORIENTATION”. In the next shot, we see the three of them standing around the TV as Walt pushes the tape into the VCR slot and turns the TV on.

With a bit of static, white words fade onto the dark screen, as we hear a variation of the familiar orientation film musical motif :

    THE DHARMA INITIATIVE

                  7 OF 6

            ORIENTATION

Which fades from the screen and is then replaced by a large symbol of the octagonal DHARMA logo, with the same rectangular shape seen on the entrance to the station. Beneath the logo appears smaller words:

ORIENTATION - STATION 7 - THE EGRESS

This screen then fades into a shot of Dr. Pierre Chang standing in the middle of the same room that our trio is currently standing in, the music ceasing. He is wearing a white lab coat, and his left arm is prosthetic. He has a friendly but formal demeanor.

DR. CHANG: Hello. I’m Dr. Martin Ellingham, and this is the orientation film for Station 7 of the DHARMA Initiative.

His expression turns a little more serious.

DR. CHANG: As you were briefed beforehand, the Egress is the most confidential station at DHARMA - it is classified above top secret. You must treat it as such, and defend the existence of its location - with your life, if necessary.

We see the intrigued and mystified expressions of Hurley, Ben, and Walt as they watch, Dr. Chang still speaking in the background.

On the film again, we now see Dr. Chang standing at the observatory window with a bright flickering light still on the other side.

DR. CHANG: At this location on the Island, we’ve discovered what we believe to be the key -- to a new threshold.

He starts to continue speaking, but the film suddenly turns static and scratchy. We see the annoyance of the three amigos as they watch. We then see the screen again, as the static abruptly cuts to a new image.

It’s Dr. Chang again, but his clothes have changed completely, and the location is now obviously somewhere completely different. He’s sitting on a sofa now, perhaps in a house at the Barracks, looking worrisomely but sternly into the screen. An ominous low musical piece plays.

DR. CHANG: We are being forced to abandon this station due to growing tensions with the Hostiles and developing conflict in the Hanso Foundation.

Some of his words are distorted by the aged video quality.

DR. CHANG: I am taping over this film and leaving this as a warning to anyone who may find the station. Once our men send this there, they will be destroying all data we have saved in the computers, so that no one may learn what we have learned here.

Walt, Hurley, and Ben exchange troubled expressions.

DR. CHANG: If you discover this station by mistake, it is vital that you seal it off, or if necessary, destroy it. You must not use this station for its intended purpose, unless you are so authorized by a senior member of the management. There is a possibility we may need use of this station again. But apart from that...

His expression then turns more severe:

DR. CHANG: I repeat, -- you must not use this station for its intended purpose.

The screen then turns black and silent. After a moment of nothingness, Walt reaches to hit the fastforward button on the VCR, but there is nothing further to see. The three of them still look to one another, uncertain of the meaning of what they’ve just stumbled upon. But then Hurley looks to Ben with a knowing look.

HURLEY: I think we need to begin an investigation into just what they were up to here.

Ben nods.

BEN: I agree. We need to do research into the DHARMA files off the island.

Walt looks pensively, wondering how this could be related to his deeper purpose on the Island, as we then wooooooooosh to:

We are on Walt and Diya as they quickly walk through the nighttime forest, Walt leading with a short flaming torch.

WALT: That dream I had of Hurley, that was one of the kinds of crazy things that happen to me…

Diya nods understandingly.

DIYA: I know.

WALT: I had one back on my Island, too. It led us to a DHARMA station…

He slows to a stop for a moment so he can explain, and she stops too.

WALT: That station is what led us to finding out about this island. So I thought… Since I hadn’t learned anything from the first Island, I thought it was leading me here to this one.

She listens intently. He looks down and shakes his head in frustration. And with a soft tone of music, he says:

WALT: But I’m still no closer to finding my purpose here.

DIYA: You’ve been getting in touch with your gift, though.

WALT: That’s just power though. Power is no good without purpose .

Walt shakes his head as he states that. And she nods her head with a smile, agreeing with him. But she adds:

DIYA: Getting you more in touch could be a sign that the Island is getting you closer to your purpose.

WALT: I don’t even know that the Island wants anything, though. ...Can it really be special , if there is another one? How can there be two?

Diya thinks for a moment on this, and then divulges what has been learned from the first Island:

DIYA: What DHARMA learned from the first Island was that it was pretty special. So SAMSARA developed this island, based on the knowledge they acquired.

We hear a mystical tone of music to this. Walt is not sure what to make of this, but just nods. And the two continue on.

We are back on Hurley again, as he motors in his canoe, getting closer to the forested islet. He looks behind again, and we see lights in the distant background, suggesting pursuing boats. Suspenseful music lowly playing. He then turns to look ahead, and he sees --

Jack Shephard . We hear a familiarly mysterious revelatory note (3:37 - 3:39). He’s looking very much as he did at The End, with blue shirt and jeans, his graying dark hair longer than his early series buzzcut, his face a bit wrinkled with age. There is a cut in the lower right of his shirt. He looks mellow and pleasant, though we still get a faint sense of something unresolved with him. He is seated facing Hurley, who is surprised for a fleeting second, but does not flinch, as this is nothing unusual for him.

HURLEY: Dude, where’ve you been?

JACK: I’ve been checking them out.

Jack motions his head past Hurley’s shoulder.

JACK: Are you doin’ alright, Hugo?

Hurley nods.

HURLEY: I’ve gotta meet up with the others on that island.

Hurley motions his own head to the forested islet closing in behind Jack, who nods.

JACK: You want me to go with you the rest of the way?

We start to hear a very soft, sentimental variation of Jack’s theme like 3:31 - 3:40, though much more slowly and softly, with some pauses of silence at occasional seconds, as it plays over the next few moments of dialogue.

HURLEY: Nah, I’ll be fine. Just go find Walt.

Jack nods, and smiles.

JACK: You’ve really come a long way from that guy who was wandering aimless after the crash.

HURLEY: Yeah, well, I’m wondering now, more than ever, if I should have taken this job.

The music gets a little more silent or slightly dark. But Jack’s faithful smile remains.

JACK: I still believe in you, Hugo.

Hurley, confessing his frustrations:

HURLEY: I haven’t been able to do any miracles again since that time I saved the dog. And it wasn’t even me. It was the Island that did it.

JACK: But the Island was listening to you, Hurley, and it still will. Everything you’ve achieved up to this point - that’s a miracle.

But that just leads Hurley to his next point of issue.

HURLEY: I’m not sure I even want the Island to listen to me. To do miracles.

Hurley then, looking questioningly to Jack for a question that has long been on his mind, asks:

HURLEY: When you were down there… in the Heart of the Island . When the light went out. What was that down there?

And as we see Jack think back on that moment, we hear a soft variation of the Heart of the Island theme (similar to 10:05 - 10:15).

JACK: I saw magma. I saw a power that I knew could destroy all of us.

We can see in Hurley’s eyes that this confirms his suspicion and worry.

HURLEY: I don’t want that power.

Jack nods, understandingly, and the music quiets into silence.

HURLEY: You better get going, dude.

JACK: Alright.

And in the next shot, Jack is gone. In one last quick shot, we see Hurley maneuvering the motor as boat lights pursue in the dark background.

In the next shot, we see the canoe rested on the beach minutes later, the lights of the pursuers even closer. The camera pans right towards the forest to show Hurley hurrying in.

But barely a few paces before he begins to stop, hunching over to catch his breath. Almost a desire to give up.

And just then, another figure appears before him with an eerie musical note. Hurley looks up, and we see that it is Locke. This time he is standing upright, wearing his burial clothes that he wore loaded onto Flight 316. His demeanor is more urgent. The music continues soft eerie beats.

LOCKE: Hugo, where are you going?

HURLEY: I’m looking for Walt.

LOCKE: Don’t worry about Walt. I’ve been with him since dusk.

Hurley lifts himself up. Locke stares into him, intently.

LOCKE: You know this isn’t the right way to go. You still have your mission to accomplish.

Hurley doesn’t reply, still thinking.

LOCKE: You giving up?

Hurley shakes his head.

HURLEY: No. But I’ve got to change plans. I need help.

Locke doesn’t reply, but still looking intently, just steps backward into the darkness of the woods. Hurley now hears the sounds of motors close by. He keeps going.

And in the next shot, we follow Walt leading the way through the woods with the flaming torch quickly, Diya following close behind him. And in a couple of moments, Walt and Diya finally come upon Hurley.

And with that, we hear a variation of Credit Where Credit Is Due, a bit hopeful but still a bit anxious. Walt smiles, as does Diya realizing this is who they are looking for.

WALT: Hurley!

Hurley’s expression remains anxious, and he almost doesn’t notice that Walt has a newcomer with him.

HURLEY: We’ve gotta go, those people are right on me.

Walt’s face turns concerned, and Diya’s especially worried.

And in the next shot, we see the two hurrying through the dark forest as they try to look for a good hiding place. Suspenseful music building. After a few moments, they stop to examine. But Hurley looks as he - and we - hear cracks of the forest back in the direction they came from. We see a glimpse of movement in the trees.

HURLEY: Oh no.

And the camera panickingly darts from corner to corner of the forest as we hear more cracking sound, seeing more subtle movement, the assailants beginning to surround them. The music elevates with more anxiety. We see Walt and Hurley’s panicked expressions as Walt plunges the flame into the ground putting it out.

Walt and Hurley then hurry aimlessly through some back diagonal direction of where they were, scattered from Diya. They curve around urgently, as we see and hear a few more glimpses of movement closing in through the forest. The music growing more anxious. And then, the last thing they need to hear -

A roaring siren with a mechanical pounding. Hurley is stunned.

HURLEY: No way.

And we hear the ruckus as the Monster ticks and clicks and roars , thumping loudly through trees. We hear this for a few moments, as we see some glimpses of trees shaking with the Monster’s ferocious movement. Hurley turns and spots an arched clump of vegetation, branches or bush in some trees.

HURLEY: Come on!

Hurley takes into the arched clump of vegetation, and Walt turns to hurry and join him hiding under it. We see the two getting situated as they stare out. We hear more ticks and clicks and thumps as the two watch on.

WALT: Where’s Diya?

Hurley shushes him. We hear more of the Monster’s ferocious movement in the forest and can see the movement of trees.

Suddenly, Diya comes running into view, almost startling the two. She goes under the arched clump of vegetation to hide with them, trying to catch her breath.

We see a shot of the three of them as they observe ahead, the monstrous clicking, roaring, and banging continuing in in the distance. Diya turns to look at Hurley, strangely greeting in the tense moment.

DIYA: I’m Diya, by the way.

She reaches out a hand, and Hurley nonchalantly takes it.

HURLEY: Hurley.

DIYA: Nice to meet you, Hurley.

Hurley and Walt look anxiously on at the monstrous movement ahead, and as Diya turns to face it also, it leaves her with a different sense of hauntedness in her eyes.

We then cut to a small campsite in the middle of the forest, nighttime creatures chirping in the background. We can see Kate, Sawyer, Ben, Miles, and Claire are surrounding a small fire, doing nothing in particular but resting, though each looking a bit wary.

The camera gets close on Claire’s expression as we see her standing upright, holding a hand to a tree trunk as she peers through the forest. She seems alert to whatever is ahead.

Kate takes notice.

KATE: Everything alright, Claire?

Claire turns back to look at them.

CLAIRE: Something’s coming.

With that, there is a musical note of suspense that carries into an on-going low tune. The other characters, concerned, start to stand up, and they scatter slightly around to look through the forest.

Kate stands next to Claire, and we watch what they are looking at, as we can make out movement in the distance through the trees.

Kate whispers loudly to the others:

KATE: We need to hide!

Sawyer goes to kick out the fire, while everyone scatters around to hide. The music still low and quiet but anxious, we see the camera hold a few moments of shots around the emptied resting spot. And then --

We start to see, from the ground, the boots of several figures of some indeterminate number, stepping onto the camp, some embers still lighting the area. The music remains low but more intense with anxiety as they walk through.

We see shots of the expressions of each of the other characters, with beats of suspense, each of them hiding in bushes and vegetation in the forest around the resting spot. Kate holding her gun steady as she is crouched near the ground, ready to fire if necessary. Somewhere else, Sawyer has his rifle lain forward across the ground in front of him. Miles peers from a hiding spot, also holding his gun upright ready for action. Claire is simply hiding quietly somewhere with no weapon, a dark anxiety sparking into her eyes. Similarly, Ben is awkwardly crunched in somewhere as he watches with no weapon but his calculating mind.

With the shots of each of the characters, we see more of the boots, legs, and soon bodies, arms, and heads of the assailants walking through (perhaps reminiscent of how we often saw glimpses of the Others in the jungle in Season 2). They are all dressed in grayish green camouflage, each with the same SAMSARA logo of the fruity tree on the upper-left of the chest. We are not able to really make out much of their faces in the dark at these angles. Most of them each seem to be holding a gun of some variety or another.

The SAMSARA figures appear to be turning and looking around, each holding its own weapon carefully and ready to fire. They start to motion to each other with their hands to move forward. And so they begin to move on past the area.

We see one last shot of Sawyer and then Kate, hiding in their place with their own gun each, as we can see some relief in them for the threat moving away. The music begins to reach a close.

We cut back to Walt, Hurley, and Diya in their own hiding spot. The Monstrous sounds seem to have quieted down. Walt takes the opportunity to ask, quietly:

WALT: Where did they come from? Where’ve you been?

HURLEY: The people here captured me when we got here. I got out this morning.

DIYA: They’ve long been trying to capture me. They will try to take each of us.

HURLEY: I was trying to talk to their leader for a long time.

Diya turns surprised.

DIYA: Theodor?

HURLEY: What do you know about him?

There is a tense pause with some eerie music, and Diya’s expression and tone turns ghastly:

DIYA: He’s a monster.

And with a dun , we then cut to a shot somewhere else in the dark forest.

There is a figure stepping out of the woods. Coming out of the darkness in his black shirt, we see that it is Theodor ’s face.

We have one last moment on Theodor as he looks out across the landscape, calm and calculating, a short dark music piece accompanying.

And with a thud, we cut to black.

[Commercial Break]

We are on Walt and Hurley as they awakening in their hiding spot somewhere else on the islet. It’s daylight now, and Diya is absent. The atmosphere is more peaceful now - the danger seems to have passed over the night, for now.

Just then, Diya walks back up onto them. She looks a little heavy in her eyes. She says somewhat somberly:

DIYA: Good morning.

In the next shot, we see as Diya, Hurley, and Walt stand around in the forest.

HURLEY: We need to catch something to eat.

WALT: I know, I’m starving.

Diya says, in a tone reflecting her expression:

DIYA: Not much is alive around here anymore.

Diya starts to wander from the group a little. Walt takes notice, and after a few moments, he follows her.

As Hurley pauses behind, suddenly Jack emerges into view again, with a soft positive musical note.

HURLEY: Hey man.

JACK: Morning.

Jack is looking up around at the environment.

JACK: So, another smoke thing.

Hurley says glumly:

HURLEY: Yeah… looks like it.

JACK: You ever notice how much this island is alike with ours?

Hurley looks up at him, wondering what he’s onto. Jack remarks casually:

JACK: I’ve just been trying to figure out what it all means.

Jack looks around with a wonder about this other island, and though curious, he is not bothered by it. We see on Hurley’s face, though, that he looks a bit more troubled.

We cut to Diya as she stands alone, looking around at the grayish environment of the forest. We see she looks torn about something. She crouches down a little towards the ground. Walt appears next to her.

WALT: Is everything alright?

She holds her head down for a moment, her eyes shut as some tears slide out. We hear a soft, sentimental piece of music beginning, before she opens her teary eyes.

DIYA: I don’t know how much longer I can go on living like this .

Walt looks concerned for her. He unmistakably feels some kind of connection to her, some unusual friendship that has borne out of this new journey.

WALT: Why don’t you just leave this place?

She wipes away her tears.

DIYA: I have to keep protecting this place.

WALT: Isn’t… there anyone you miss from back in the outside world?

Diya shakes her head.

DIYA: There’s no one there who would want me back.

Walt sees in her eyes some unspoken pain she is holding in. He’s not sure what her story is. But he intuits that he can relate. And he says:

WALT: Our families might be gone . But it’s not over.

We begin to hear Walt’s Theme , and maybe with occasional mixture with Diya’s Theme, throughout this scene. Walt crouches down next to her, and offers a comforting arm around her. And he finds an optimism.

WALT: I think we’re gonna all be alright. We’ve made it this far. And we still have our friendships .

And then he says, with some realization:

WALT: So this must all be for something .

The music sounds a little more hopeful to this remark of his. She smiles, looking to him.

DIYA: Maybe this is what your gift is for.

WALT: For what?

DIYA: Maybe you were meant to help me. To be at peace.

Walt smiles to the sentiment. The music gets heavier with release and resolution, with elements of Walt’s Theme and Diya’s Theme. And after a few moments of taking this in --

We cut back to Hurley, with Walt and a more uplifted Diya coming to rejoin him.

WALT: So what’s our next plan of action?

HURLEY: Well… After we grab a bite to eat, I guess we find the others.

Walt nods.

HURLEY: Have you seen anybody the past two weeks?

WALT: Huh?

HURLEY: You know, when we got here?

WALT: You mean, in the past two days?

Walt and Hurley both exchange confused glances as we hear the mysterious revelatory note .

HURLEY: Uh, what?

WALT: We only got here two days ago.

We see in Hurley’s face that this sinks in for him. Diya also looks curious about their exchange.

HURLEY: ...Great. More confusing stuff.

DIYA: I know a place where we might find some fish.

This catches Hurley’s attention again.

HURLEY: Great, dude. Well let’s go.

A slight bit of heroic music begins to play as Hurley and Diya continue to embark onward, Walt looking bewildered as he follows behind. And just then --

Walt notices Locke appearing to his side, still seated in his blue wheelchair, dressed as he did on the day of the crash of Oceanic 815. Walt stops.

WALT: Hey Mr. Locke. What’s up?

LOCKE: Oh, nothing.

Though Locke does seem a bit down in his spirits as he was in their last encounter. Walt, reflecting back on what Diya told him the night before, tries to offer John some enlightenment:

WALT: Hey, about what you said yesterday… Diya told me that they developed this island. They used their knowledge from the first one to do it.

But this doesn’t seem to help John. Locke’s mysterious motif begins to play. We can see he is trying to make sense out of everything. But he is weakening.

LOCKE: But you can’t develop another. Only one can be all-powerful.

Locke seems to be understanding this as a deeply spiritual problem. But Walt has no answer for him.

LOCKE: If there are two, then doesn’t that get rid of the purpose of our Island?

But Walt is once again left with no answer for him, and is not sure what to make of Locke’s concern. He just looks down, and after a moment, carries on forth.

Locke sits still, looking saddened in his state, his crisis of faith. His mysterious music so characteristically gloomy.

We see one final shot overhead of Walt walking away from where Locke is sitting, as the music softens into silence, and the screen goes black --

And with a soft thud ,

L O S T

[ End Credits ]

Chapter Text

PREVIOUSLY, ON LOST…

[A clip from 2.09 What Kate Did of Kate riding her motorcycle away from Wayne’s house as it explodes.]

[Then from 1.22 Born to Run, Kate crying at her mother’s hospital bed as she lays in it.]

KATE: I’m so sorry for everything I have put you through.

[Clips from 6.14 The Candidate of Sawyer pulling the wires on the bomb, then the explosion in the submarine, and then Jin together with a trapped, crying Sun embracing as water floods the room in the submarine, with a bit of the Life and Death theme.]

JIN: I love you, Sun.

SUN: I love you.

[Then a clip of Jin and Sun’s hands separating underwater once they’ve drown.]

[Then a clip of Kate as Jack is stitching her shoulder in 6.16 What They Died For, with a bit of the Survivors’ theme.]

KATE: They had a little girl, you know. Her name was Ji-Yeon...

[Then from the same episode, Sawyer talking in the jungle.]

SAWYER: I killed them, didn’t I?

[A clip of Kate and Jack at the cliffside from 6.17 The End.]

JACK: Kate… you gotta go. -

KATE: Tell me I’m gonna see you again.

[Jack shakes his head. They kiss each other.]

[From 7.01 Another, with more ominous low music.]

GALEN: I am here representing the interests of the Hanso Foundation.

KATE: So what if we don’t agree to lie for you?

Galen looks warningly in his eyes.

GALEN: Then… we will release records to law enforcement implicating the involvement of all of you.

Galen’s eyes shift towards Kate in particular.

GALEN: Especially for you, Miss Austen.

[And then from 7.02 The Gifted, we see the SAMSARA assailants crossing through the camp, as Kate, Sawyer, Claire, Ben, and Miles watch from hiding in bushes. And then a clip of Theodor as he stands in the night jungle.]

Episode 7.03: Death’s Hand

We are in a cemetery, vast with green grass and gray gravestones with a cloudy faintly dark sky, as Kate's theme plays. We see Kate from behind ahead in the distance as she stands in the midst of the cemetery facing down at a grave.

We are then allowed to see the grave she is facing. It has a bit of a shine, and we can see Kate’s image reflected in it as she stares upon it. It reads “DIANE JANSSEN” and has dates marking about 1959 to 2007.

The camera is then directly on Kate’s expression, as she watches the grave. She looks a bit dark in her eyes, as though haunted by the years that have pursued her. She is held by something unresolved. We’re not sure if she is sad or relieved or a bit of both. The camera holds on her expression for a few moments, before we then see her turning and heading to leave. And we wooooooooosh away from the scene.

We are now on Kate tying her shoes in the midst of the dull grayish forest of Island 2, she looks reminiscent of the past. Sawyer, Claire, and Ben are near by. There is no music, only the environmental noises. Sawyer walks over to Kate.

SAWYER: I never did ask you.

Kate finishes tying her shoe and looks up at him, curious to his question.

SAWYER: What were you doing when you snuck out of Cali?

Kate considers avoiding the question. But after more than a decade of the survivors avoiding each other’s questions, she decides to just confess the truth.

KATE: Just sentimental things. ...I went to see my mother’s grave.

SAWYER: You know, you could’ve gotten thrown in jail for leaving the state.

KATE: Since when did you become so interested in obeying the law?

Sawyer shrugs.

SAWYER: Why would you hold onto someone who threw you aside?

KATE: I just needed to make my peace.

Sawyer, thinking on his own history of paternal trouble, then asks:

SAWYER: What about your dad?

Kate faintly frowns and shakes her head, and with a tint of regret, just says:

KATE: I think after all my years of crime, he just started to see too much of my biological father in me.

Sawyer nods, with some empathy for her. But Kate then’s expression flashes more optimistically, and she nods in a direction.

KATE: But I have a real family to hold onto now…

We see the camera framed on Claire as she is in the background. We see Kate watching in the foreground.

KATE: They’re why I didn’t go to Iowa sooner.

We then see Sawyer’s expression again, as he looks a little saddened, thinking on his own family history. She turns back to face him.

KATE: What about you?

SAWYER: Not so much, me.

She looks saddened for him.

KATE: I’m sorry things didn’t work out with your daughter.

Sawyer gives a low shrug, thinking they just weren’t meant to. Then, Miles emerges back to the group.

MILES: I found another one.

Some lightly mysterious music plays. The group of five head ahead to see what it is Miles has found.

In the next shot, we see the five of them emerging out of the forest, out to a clearing, where the camera turns, revealing a bridge, like the one they passed in the previous episode, but this one is fully intact. It’s stretched out over a long channel of water to the next islet. There’s also a little operating booth that would have been for drawing up the bridge. The scenery looks a bit old and withered down from age.

BEN: Finally, we may find the station we’re looking for on the other side.

As the group starts to head forward, Sawyer waits behind. Kate notices, turning, and the rest of the group also slows.

KATE: James?

SAWYER: Y’all go on without me, I’ll catch up.

KATE: Where you goin’?

Sawyer lets out a sigh.

SAWYER: I’m goin’ to find Walt.

There is a soft beat of danger to his remark. They all look concerned, especially Kate. And Miles starts to step forward. But Sawyer holds his hand up -

SAWYER: No Miles, you stay and protect the crew while I’m gone.

Miles is halted and nods, starting to step back.

SAWYER: Besides, I thought you had something you were looking for?

Miles doesn’t answer. But we can see in his expression that he knows what Sawyer is talking about, there is something else in his heart. There is some uncertainty among the others about what Sawyer is referring to. But Kate simply brings the subject back to Sawyer’s decision:

KATE: You don’t need to be out there alone with that thing.

SAWYER: Neither does the kid.

Sawyer starts to turn to leave, but then makes one last comment, which he makes with a tone of regret, knowing Kate will understand his full meaning:

SAWYER: I’m not leavin’ kids behind anymore.

As Sawyer's theme (1:48 - 2:02) starts to play, he keeps turning and heads back into the woods. Kate watches for a moment, considering going after him.

MILES: You gonna go after him?

She says decidedly:

KATE: No. ...Are you?

MILES: Not this time.

The music quiets. Kate turns and walks next to Claire. Kate looks to the group.

KATE: Let’s go.

Claire smiles that Kate is staying with them, and Kate returns a smile. The four head on across the bridge.

In the next shot, we are back in the forest. Hurley, Walt, and Diya are together, though Hurley is sort of off on his own, sitting on a log with his hand on his chin, thinking on his own plans. As he is doing that, Jack suddenly appears walking over to him.

HURLEY: Hey, dude.

Jack nods greetingly back.

HURLEY: Got any ideas?

Jack shakes his head.

JACK: I think the others are close ahead.

Jack starts to turn to leave, but Hurley stops him -

HURLEY: Hey Jack.

Jack turns back to Hurley, who is holding a lot of well-meaning questions.

HURLEY: Why are you still here, man?

Jack simply smiles.

JACK: I’m here to help you any way I can, Hugo.

Hurley smiles.

HURLEY: Really dude? Nothing else?

Jack starts to look down in thought, and it’s clear there is something else troubling him. Hurley tries to make his best guess.

HURLEY: Is it… Kate? I could tell her, about you being here.

We can see in Jack’s eyes that he is considering this thoughtfully. But he gives no answer just yet. He just turns and heads on. We get another shot on Hurley as he watches Jack leave.

In the next shot, we are elsewhere in the forest. We start to hear music that’s a little more softly suspenseful or hauntingly eerie, as the half dozen or so SAMSARA “troops” from the night before gather, all in their green and gray camouflage, holding various guns. Except Theodor - who wears black. We recognize some of these men from a previous scene, notably two of them who were there when Hurley was captured.

THEODOR: Did you find any of the assets?

LEAD TROOP: No, but we did find a camp.

There is a suspenseful note. Theodor registers this in his mind.

LEAD TROOP: We’ll track their trail.

THEODOR: Carry on, Garrow.

The music beats heavier with haunting suspense as we see the group starting to head onward, with the camera especially emphasizing on Theodor’s pondering expression.

The screen goes black.

L O S T OPENING LOGO - it’s reversed

[Commercial Break]

It’s a slightly dreary day as we see Kate seated at a table among a fanciful outdoor setting at a restaurant, a few vacant seats at her table. We can read in her expression that she is clearly waiting on someone.

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Veronica Hamel, Jared Harris, June Kyoto Lu, 3 undetermined guest actors, 1 undetermined guest actress. Special Guest Star Kimberley Joseph. The rest of the credits also listed.]

Kate then turns, and we see that Sawyer has arrived at the table. She smiles with pleasant surprise, as this was not who she really expected to see.

KATE: You came.

Sawyer smiles a little as he takes a seat next to her. Then she turns noticing Sawyer looking ahead in our direction. The camera is then on what they are looking at: it is not who we might expect to see.

It’s Sun’s Mother and a small toddler girl we know must be Ji Yeon. We hear a tragic, Asian-themed variation of the main Lost theme, not the usual Kwon theme but one we heard through their very first centric episode.

We can see the burden in Kate’s expression as she knows what she must say, and it seems to be especially gut-wrenching for her as she notices Ji Yeon is there. In Sawyer’s eyes are the weight of guilt and responsibility. We see a kindness but a dread in the face of Sun’s Mother. The tiny Ji Yeon does not understand what’s ahead of her. They arrive at the table to the awaiting Kate.

Sun’s Mother, speaks in English to our surprise, in her Korean accent:

SUN’S MOTHER: Hello.

KATE: Hello, Mrs. Paik.

(Although Korean women do not typically take their husband’s surname, Sun’s Mother nonetheless does not comment on Kate’s error.)

SAWYER: Good afternoon.

Sun’s Mother smiles kindly from Kate to Sawyer, though with a sadness. Ji-Yeon sits quietly.

KATE: I’m glad we can understand each other. I was worried I wouldn’t be able to explain-

Sun’s Mother nods.

SUN’S MOTHER: My daughter had been teaching my granddaughter English, with hopes that she might study here one day. And I was learning it with her.

There is a pause.

SUN’S MOTHER: You have a son?

Kate almost says yes, but she catches herself:

KATE: I have a nephew I raised as my son, until his mother could be with him.

Sun’s Mother smile and nods.

KATE: I remember Sun had hoped they would play together.

And Sun’s Mother nods, before finally stating, voice quivering:

SUN’S MOTHER: Miss Austen, you said on the phone that… my daughter has died.

Kate takes a moment to speak, as the moment silences in tension for a moment, and she finally breaks it out, as we see tears coming from her eyes.

KATE: Yes.

Kate tries to hold her composure. Sawyer looks down with a small frown. There is a sadness in Ji-Yeon’s eyes, as she seems to understand her mother is not coming back. The Life and Death theme, similar to the variation heard when Sun and Jin died, starts to play. Tears are starting to come from Sun’s Mother’s eyes also.

KATE: She went back to where our plane crashed, to find Jin. They drowned.

As she hears this information, Sun’s Mother sobs harder. She is in a pause as to what to say, before finally managing out:

SUN’S MOTHER: I do not understand. I thought Jin was dead.

Kate tearfully replies back:

KATE: She thought he might still be alive. And he was. I went with her -- but I couldn’t stop --

Kate cuts herself off as she talks, Sun’s Mother listening taking this in, Ji Yeon still looking distressed, sensing something is wrong if not entirely understanding. Sawyer finally lifts his face up.

SAWYER: We were gonna make sure that Ji-Yeon is doing okay.

Sun’s Mother looks to her granddaughter for a moment through tears still.

SUN’S MOTHER: Ji-Yeon has been well, but missing her mother. She will be well raised by us.

The music starts to quiet. And then -- someone unexpected appears --

GALEN: Oh, what a pleasant coincidence, catching you here, Madam.

And with a suspenseful musical note, Manvel Galen appears out of the blue over them, with his raspy voice, looking at Sun’s Mother. His demeanor is one of playing this off as a casual coincidence. But we can’t help but get a sense of something more stalkery to his presence. Sun’s Mother looks surprised, but Kate and Sawyer look especially apprehensive. And Ji Yeon looks uncomfortable.

SAWYER: What are you doing here?

GALEN: I was just attending a meeting here. -- I’m sorry, I clearly interrupted something.

Galen seems almost apologetic, but we are uncertain as to his sincerity. He looks to Kate.

GALEN: And nice to meet you again, Miss Austen, Mr. Ford.

Kate and Sawyer hold their apprehensive gaze. Galen then looks down to Ji Yeon.

GALEN: And fancy meeting you again, Miss Kwon.

Ji-Yeon does not understand, but looks apprehensive. He then looks to Sun’s Mother.

GALEN: I shall look forward to the scheduled meeting with your granddaughter later this afternoon.

Galen smiles before casually wandering away. The tone of the music sounds a little more relieved but still foreboding.

KATE: How do you know that man? What does he want with Ji-Yeon?

SUN’S MOTHER: He is a business partner of my husband. We started having her… tested by their company. That is why we were here in Los Angeles.

KATE: That man is dangerous.

Sun’s Mother looks a bit surprised by what Kate has said.

SAWYER: Testing her for what?

SUN’S MOTHER: Dr. Galen thinks she may have a… He called it a special light.

Kate looks a bit stunned by this. Sawyer seems suspicious of this.

KATE: That man has threatened us before. You need to keep her safe.

SUN’S MOTHER: I do not think their company has much power to do anything against my husband’s company.

Kate looks very skeptical of this hopeful assertion. And she just says assuringly:

KATE: If you ever need any help, don’t hesitate to ask. We’ll always be there for Ji-Yeon.

Sawyer nods. Sun’s Mother smiles kindly, we see in her eyes that she is emotionally moved. Through tears, Sun’s Mother says:

SUN’S MOTHER: Thank you. But why do you help us?

And Kate says, with the utmost sincerity:

KATE: Sun was like family to us. And so we’d do everything we can to make sure her daughter is fine.

And Sawyer inputs:

SAWYER: Plus, I know what it’s like growing up without a momma and daddy.

There is a soft emotional beat of music, as Sun’s Mother starts to stand, taking Ji-Yeon by the hand.

SUN’S MOTHER: We must go. We have much on our schedule today.

Kate and Sawyer nod.

SUN’S MOTHER: Thank you so much for telling me.

KATE: Of course.

Kate pauses - and with a bit of a smile, she adds:

KATE: Mothers - and children - are very important.

Sun’s Mother simply gives a frank smile to this, before she turns. The camera holds one last time on Kate’s expression as she smiles somberly, before we wooooooooosh to:

We are back with Kate on Island 2, as she walks among the group of Claire, Miles, and Ben. The surroundings of the islet they have ventured into look similarly gray and lifeless as the last islet, except this one has less presence of vegetation, perhaps only half or less, much of the vegetation that is there looking dead and torn down. There are more open clearings, and power lines visible elongated through the air.

As we see a few quick glimpses of these visuals, the group of four then comes upon another sight: some ruinous buildings, no more than a half dozen or so, many of them destroyed, their foundations splayed out across the ground, with others looking very banged up or otherwise abandoned. They are in the middle of a clearing well removed from any of the vegetation on the islet. Some softly ominous music accompanies our first glimpse of this sight.

The group gets closer to investigate, soon being upon the rubble. Among the rubble is the partial corner of a black-and-white octagonal logo. Kate examines it, and then looks at the large, half-destroyed building ahead it seems to have derived from.

KATE: I think this is a station.

Ben nods.

BEN: This may be the one we’re looking for.

They travel into the building’s entrance room, as it is exposed, with its walls busted open wide, parts of its ceiling torn and crumbled on the floor, the room’s contents splayed out around. We get a sight of ruined tables, furniture, a shattered television, books and bookshelves, torn up and in pieces across the floor, damage on the walls and furniture, and some passages/doors to other rooms. The music remains ever ominous, as Kate, Ben, Claire, and Miles examine the destruction through the ruined building.

We take a few moments as Kate and Ben begin to look through junk in the room for clues, as Miles and Claire move ahead through a passage on the right side of the room. As Kate and Ben rummage through, we see Ben uncover what looks like the torn-off cover of a journal, with “STATION 2” written on it in pen and “THE LOCOMOTIVE” written underneath that. On the other hand, Kate unravels something that catches her interest. We see her pause before she picks it up examining it: a strip of some fabric that we don’t get a close view on yet.

In the next room ahead, Miles and Claire turn a lightswitch on, which thankfully still works illuminating the room, and they find a console panel with a couple of screens situated across, and a couple of old 90’s computers around the room, knocked over with tables and tangled up in their cords. There is another passage also, but it is blocked by collapsed rubble.

Claire starts to look through the broken computers, while Miles looks to the console panel. He examines switches on the panel, and they have different words labeled above each. One of them is labeled “COMMUNICATION”, situated before a microphone, and another “ACTIVATE”. He tries to flip it and other switches, and to no avail, as none of the screens turn on.

KATE: Miles...

Miles and Claire turn as they hear Kate coming into the room followed by Ben. Kate is holding the strip of fabric that we saw her find a few moments ago. She hands it to him, and he takes it, glancing down at it. And we see what is on it:

We see that it is a torn piece of film, with frames of Miles’ father Pierre Chang on it, looking more aged and silver-haired. We hear just a quick bit of Miles’ theme (1:52 - 2:00), and the camera holds on Miles’ expression for a moment, one of a skeptical hope.

BEN: Well, this isn’t the right station.

Ben is looking up at a wall. The others look to where Ben is looking -- it’s the full station logo up on the wall above the consoles. Rather than the symbol Ben drew the previous day, the black silhouette is that of the side of a train engine with a bit of smoke billowing up from its chimney.

We see a flicker of disappointment in Ben’s expression as well as the others as they stand in the background. Kate then remarks:

KATE: Maybe we can fix these computers, get information on what we’re looking for.

The others nod in agreement, and the scene cuts to --

We are back on Hurley’s group - Hurley, Walt, and Diya - as they are in the grayish forest. Hurley heads through the trees a little to see Jack standing alone among them. We get a shot on Jack for a moment as he is pensive in some thought, something burdening him. And we see Hurley coming behind him in the background.

HURLEY: So… I’ve been wondering.

Jack, a little surprised, turns around to him.

JACK: Yeah?

Hurley asks frankly:

HURLEY: What’s it like dying?

We hear a soft variation of Jack’s theme (1:27 - 2:10) as we see in his eyes as he considers this for a moment.

JACK: It was peaceful.

A pause, but then Jack adds:

JACK: But, strangely, I don’t feel like I’ve really died yet.

HURLEY: You’re still holding on.

Jack nods.

HURLEY: Yeah, I kinda got that from you hanging around still for 10 years.

Jack starts to smile, almost into a laugh.

JACK: Are you trying to get rid of me?

Hurley smiles.

HURLEY: No, dude. I just wanna help you be happy.

Jack returns the smile, and pats Hurley on the shoulder, as the music softens to silence. Hurley, with a comic tone, then asks:

HURLEY: Are you waiting to get revenge?

JACK: What?

HURLEY: You know, like Patrick Swayze in Ghost, haunted the bad guys who killed him.

Jack shakes his head.

HURLEY: Speaking of, have you seen Patrick Swayze?

JACK: Who would I want revenge on?

HURLEY: You know… the guy who stabbed you. Locke. Except it wasn’t Locke. It was UnLocke.

Jack shakes his head again, and states amicably:

JACK: We already killed him. He’s been gone.

Jack starts to head back for where the others are, and Hurley follows.

In the next shot, we see them arriving back where Walt and Diya are. And as they do so, we hear the rustling of footsteps ahead through the woods. Hurley, Walt, Diya, and Jack all turn quickly to glance at what’s ahead.

It’s Sawyer, who steps through the trees.

HURLEY: Dude!

SAWYER: Hugo! … Walt!

We hear a quick bit of an optimistic variation of the Survivors’ theme (like the first 70 seconds but more softly quiet, less emphasized) as a stunned Sawyer goes and hugs his two smiling companions, though he has a flash of apprehension seeing Diya. We can also notice Jack in the back with a warm smile noticing his old friends reuniting, and in the next shot he is vanished.

WALT: Hey, James.

Sawyer smiles.

SAWYER: Hey yourself. How are you two holding up?

Hurley and Walt both smile with optimism.

WALT: Awesome.

SAWYER: How did you get away from that thing?

WALT: It dropped me, with her.

Walt turns in an introductory manner to Diya, who smiles in greeting, holding out a hand. Sawyer smiles back somewhat cautiously as he shakes her hand. The music starting to soften into silence.

WALT: She’s with us.

DIYA: It’s nice to meet you. I’m Diya.

SAWYER: I’m Jim.

Sawyer looks across the three of them.

SAWYER: We’ve gotta get back to the others. We can exchange stories on the way.

We then cut back to Kate, standing in the dimly-lit room of the unknown SAMSARA station they are in, Claire, Miles, and Ben rummaging through computer wires in the background. The camera holds on Kate’s face as she thinks on the past and those she’s been close to, and we wooooooooosh to:

We’re around the living areas in Kate’s house. We see there is some kind of “family get-together” as we see Kate, Sawyer, Miles, Claire, and a blonde boy about age 5 who we know must be Aaron, are all hanging about.

Sawyer is in the kitchen pressing the tab in a can of soft drink, as Kate is sorting a few plates into the sink.

SAWYER: What’d y’all do today?

KATE: Claire and I took Aaron to see Ji-Yeon.

Sawyer’s expression flickers down into a slight frown, while Kate, unnoticing, is smiling.

KATE: She’s an adorable little girl.

Kate lifts her eyes up to notice Sawyer’s expression.

SAWYER: How’s she doing?

KATE: She’s doing good. She’s very bright for her age.

Kate then pauses, before remarking:

KATE: You haven’t been to see Sun’s family again since we spoke to her mother.

Sawyer shakes his head a little, and just says softly but sadly:

SAWYER: They’re gone because of me.

Kate tries to think for a second to say something consoling, but then - the doorbell rings. They both look a little surprised, not expecting another guest. They head towards the living area, and Kate goes to answer the door.

She pulls it open, and we see Hurley at the door, in a business suit, a big smile on his face, as one who’s long waited to see his friends again. We then see the camera on Kate’s expression, stunned to see him. We hear a mix of a positive tone of the Survivors’ theme and Hurley’s sideways theme (0:40 - 1:10).

HURLEY: Hey, Kate!

KATE: Hurley!

Kate leans forward to give him a big hug, having not seen him for years, thinking him dead.

SAWYER: Hugo!

Sawyer bustles through also to give Hurley a big hug.

HURLEY: Hey man!

Once Sawyer releases him, Hurley steps through, and we see the delighted shock of Claire and Miles in the house.

HURLEY: How are you all doing?

CLAIRE: We’re doing great!

Hurley recalls that Claire seemed a bit deranged with feral-ness.

HURLEY: You’re looking great!

Claire smiles.

CLAIRE: Thanks, so are you!

Hurley also gives a smile to Aaron, who is a bit more blank in reaction, though faintly remembers him. Hurley then looks around them all with a smile. He’s glad to see they stuck together like a family.

MILES: Hugo, how did you get off that island? It was sinking when we left you.

HURLEY: We saved the Island! I’ve been looking after it the past few years.

The music quiets, and Kate connects what Hurley just said in her mind, a look of hopeful excitement in her eyes:

KATE: It worked? You guys saved the Island?

Hurley nods, smiling. Though his smile starts to flicker out a little as he realizes what Kate is on to.

KATE: Jack? … He …

Hurley’s smile is completely faded into a frown, as he begins to softly shake his head. A variation of Life and Death begins to play softly.

Kate pauses, understanding, as she softly nods. For just a moment - she had had hope. And now just the hurt and disappointment she dreaded. A few tears slip out of her eyes.

HURLEY: He saved the Island. And just before he did, he gave me the job of protecting it.

As Hurley speaks, we get a few shots of the other characters’ expressions. Understanding, but somber. None of them expected Jack to be alive, but it’s still sad to hear it confirmed at last.

SAWYER: So what are you doin’ now?

Hurley’s expression lifts a little with optimism.

HURLEY: Just tying up loose ends. Making sure everyone’s okay.

Hurley then turns to Kate.

HURLEY: By the way… Have you said anything to Jack’s mom?

Kate, holding in an expression of some regret, just shakes her head. We can see that this weighs heavily on her. The music softens into silence, and the screen cuts to black.

[Commercial Break]

We see Kate and Hurley walking up the steps to the front door of a nice-looking house. She has a look of dreading responsibility in her face as she rings the doorbell. Hurley’s expression is solemn but more laxed.

The door opens, and we see Jack’s mother Margo Shephard, looking expectantly of them. We hear some soft but sorrowful beats of music.

Kate and Hurley both put on a warm front as they smile in greeting to her.

KATE: Hi.

HURLEY: Hey.

MARGO: Hello.

Margo’s expression is a little cold. But she nonetheless invites them in, and we then see three of them taking seats in armchairs in a nice living area. And Margo finally breaks the ice on the long-troubling issue they are here to discuss:

MARGO: So where is my son? … I’ve called you for years asking where he is, and you always say you haven’t seen him.

Kate’s expression is one of regret and sorrow.

KATE: I didn’t know… Until last night.

Margo’s expression softens a little.

MARGO: Then tell me, please. His Granddad said that he was “going somewhere better”. What did that mean?

With the end of that question, we hear a soft touch (1:19 - 1:20) of the Island’s mystery theme. We then hear emotional music as Kate’s eyes well up with tears a little, and she turns to Hurley, and he speaks:

HURLEY: A few years ago, Jack asked us to go back where our plane crashed.

MARGO: Why?

KATE: We had to help everyone we left behind…

Kate takes a breath, and confesses, with the soft click of a high piano key:

KATE: Aaron wasn’t mine. He belonged to a friend of mine named Claire. And I found her and brought her back.

We can see in Margo’s eyes that her mind is racing with questions. The music remaining softly but subtle. Kate’s voice cracks as she then says:

KATE: Aaron is also Jack’s nephew. Claire was Christian’s daughter, from Australia.

Margo is in tears, processing all of this information in.

MARGO: I don’t understand.

Tears are going down Kate’s eyes. Hurley’s expression remains empathetic and somber for them.

MARGO: Where is Jack?

Hurley says softly, as we hear a variation of Jack’s theme:

HURLEY: He gave up his life, to save everyone else.

Margo is in heavier tears now, as is Kate.

HURLEY: I stayed behind to help Jack.

MARGO: If it was a few years ago… why didn’t you tell me?

There is a pause, as the camera slowly closes in on Kate, as she in tears, the music getting quieter for a moment. And she finally confesses:

KATE: I couldn’t accept he was gone. I was hoping he would come back.

The music gets heavier again, as we see another shot of Margo’s teary eyes, hurt but understanding. We then see a shot close back on Kate’s expression again, as she tries to smile through her tears, smiling for the man she knew. And we wooooooooosh to:

We are on Kate’s expression again, as she stands in the fragmented interior of the SAMSARA station. She is looking down, depressed in her memory. The camera holds on her for a moment.

Then we cut back to the computer room, as Miles rummages in a drawer under the panel of consoles and screens, connecting a plug to an outlet.

MILES: Alright, the moment of truth…

Miles gets up out of the drawer, and flips the “COMMUNICATION” switch. And in a moment, we see as the blank screen before him suddenly materializes an image: that of of the words “AWAITING CONNECTION” along with some kind of connectivity meter below it. We also notice some kind of little camera situated above this screen.

MILES: Hey, it’s working!

Ben comes over to see.

BEN: Good work, Miles.

Miles flips some other switches, to no avail.

MILES: It looks like this is the only one working.

Ben looks curiously at the “AWAITING CONNECTION” screen, an idea on his mind.

BEN: Wait a while and see what happens.

MILES: Sure.

Miles then looks to the “ACTIVATE” switch, and out of curiosity, flips it as well. One of the other screens then lights up, with an image reading “INPUT ACTIVATION KEY:” and a bar below it to enter text. And then we cut to:

Hurley’s gang - himself, Sawyer, Walt, and Diya, as they step off of the bridge, leaving one islet behind and heading onto the one with this station, although it’s nowhere in view. The four stand, looking around at the distance to get a sense of where the others may have headed off to.

As they are looking, Walt suddenly notices Locke, wearing his striped white shirt and seated in his wheelchair as it sits upon the ground. Walt notices Locke is examining the withered grass on the ground, and he steps closer to get a look at what Locke is looking at. We hear a soft variation of Locke’s hunting theme.

WALT: Do you see a trail?

Locke nods, an air of worry in his eyes.

LOCKE: There are around a dozen fresh prints.

He then points out across the faint footprints in the pale grass.

LOCKE: I think they’re being followed.

The music then turns to a suspenseful note, worry waving over Walt’s face. He turns back to the others, who are together talking.

WALT: Our people are being followed, you can see it in the prints.

The same worry then waves across Hurley and Sawyer’s expressions.

SAWYER: We need some plan.

Diya looks intent:

DIYA: I know a path we can take. We can circle around them and get a better position to surprise Theodor’s group.

Hurley looks uncomfortable with the prospect of an incoming fight.

HURLEY: Okay, but we’ve gotta work out the most peaceful plan of action on the way.

She nods amicably, and then proceeds to start on ahead, Hurley, Sawyer, and Walt beginning to follow behind. We then cut to:

Back in the station, Kate and Claire are clearing through the passage caved-in with rubble. In the computer room, we see the “AWAITING CONNECTION” screen for a moment longer. And then it changes to “CONNECTED” with the meter below looking full. And then an image pops onto the screen:

It’s Cindy Chandler, looking back towards the screen. She is in some kind of room, and there is some low mystifying music. Ben is not surprised, his suspicion confirmed, and he comes over to the screen, and leans forward to speak into the microphone:

BEN: Cindy, do you read me?

Cindy replies back:

CINDY: I read you loud and clear, Ben. The lookout you left in this station radioed me when this station received your signal.

Ben nods.

BEN: Did everyone arrive yet?

CINDY: Not yet, but I’ll get back to you as soon as they do.

Ben nods.

CINDY: Is everything going alright?

Ben thinks to himself that things haven’t gone at all as would be preferable.

BEN: We’ve run into problems.

We then cut to Kate and Claire as they’ve cleared through the passage, and this leads them to a staircase and passage further down to an exit door. They take the staircase.

Down there, they arrive at a wall with a long glass window, and door at the end. Claire goes and attempts to twist the handle to open it, but it’s locked, while Kate looks through the window. We see on the other side, what looks to be a pool of gleaming water. We hear a low magnetic humming. (5:47 - 5:57)

Kate gives a squint of confusion at the sight, but then turns and moves on, heading back for the stairs with Claire. We then cut to:

We are back with Diya, Hurley, Walt, and Sawyer as they walk through some pale woods, until they emerge out at a clearing, and we take a moment at the lively sight ahead: we see some kind of grove or garden, with trees and plants and flowers, more green and more colorful than we’ve seen elsewhere on Island 2, though still a touch pale. We can hear rustling streams of water also. We hear what sounds similar to the exploration theme (0:28 - 0:53), though it’s a rearrangement with some notes inverted.

The group of four examine the surroundings as they get here. Hurley looks around with a smile for the more lively sight, Sawyer and Walt more surprised. Diya looks around with a smile also, a pleased and peaceful smile - she loves this place, it conveys something special to her. The music remains lowly soft and aesthetic.

WALT: What’s this place?

DIYA: It’s my garden.

They continue to walk through, examining it. Diya goes to check on some of the colorful flowers blooming. She remarks:

DIYA: It’s a small step to bringing some life back to this island.

Walt nods with a smile. He then turns and notices Locke is appeared again, seated in his wheelchair. Locke is looking around at the environment, a smile on him also.

LOCKE: Lovely place.

Then after a moment, Walt thinks to ask him a question of curiosity.

WALT: When you leave - where do you go?

Locke looks up around, examining the environment.

LOCKE: I pretty much just go wherever I will myself to.

WALT: Do you like… float in that wheelchair?

Locke smiles into a soft laugh.

LOCKE: No, I just sort of…

He tries to think how to put it.

LOCKE: My mind - my perception - travels.

That brings another question of curiosity for Walt.

WALT: Can you sleep?

We can see in Locke’s eyes as he’s thoughtful of how to explain this.

LOCKE: Sometimes when I stop… looking around, I dream again.

Walt nods with a smile.

WALT: Why stay among the living?

LOCKE: Well… it lets me help you out.

WALT: So, what, you’re like Bruce Willis in The Sixth Sense?

Locke smiles still.

LOCKE: Somethin’ like that.

Walt starts to turn, but he halts, something on his mind, though not sure if it’s right to ask it. But he finally does. And we see Locke listen as Walt slowly asks:

WALT: John… How do you feel about your death?

The question takes Locke by surprise. The music turns for a few soft seconds to Locke’s tragic theme (0:08 - 0:24). And we can see in his face that it recalls pain and confusion, that he can’t put into words yet. Walt begins to regret asking.

And then Locke says, on a different note, maybe to change the subject:

LOCKE: I think I can track our people.

Walt nods.

LOCKE: I’ll be back.

WALT: Thanks, Mr. Locke.

And in the next shot - Locke is gone. We see Walt looking on, a thought of sympathy for John. And then we cut to:

Ben standing in the dark passage leading to the exit door, and we can see in his eyes that there is something heavy pressing on his mind. The music silent. Claire and Kate are also near by.

CLAIRE: I’ll go check out here.

Claire presses the exit door open, the sunlight gleaming into the passage as she heads outside and the doors closes back. Kate starts to follow, but -

BEN: Kate - if you don’t mind me asking -

Kate turns her attention to him.

BEN: Why did you kill your stepfather?

Kate is taken aback by this question.

KATE: Why do you need to know that?

Ben says in a casual tone (though we can see in his eyes that something is troubling him):

BEN: Murder has been on my mind.

Kate raises her eyebrows, but then just states:

KATE: He was abusive.

We see Kate’s memory reflecting in her eyes. And she further confesses:

KATE: And I found out he was my real father.

There is some empathy in Ben’s eyes. We hear a soft segment of Kate’s theme (1:43 - 2:01) playing.

BEN: I’m sorry to hear that.

Ben then confesses, with a dark note of music:

BEN: I killed my father too. He was like yours.

We then see Kate is hit with a surprise and sadness of realization.

BEN: Do you consider yourself… innocent?

KATE: I did… until I got a friend killed.

There is a soft note to Kate’s remark, remembering her friend Tom Brennan, and Ben nods.

She pauses with hesitation, wondering to herself if she should reveal something to Ben. And after a moment, she finally decides to:

KATE: Ben… I knew your father.

The camera holds on Ben’s face for a moment as we see him visibly stricken with a fleeting confusion.

KATE: When I was in DHARMA.

And she tries to tell him, for whatever comfort it may bring:

KATE: He regretted how he had treated you.

This hits Ben with a shock. And we start to hear a soft variation of Ben’s theme. Kate then goes on to add:

KATE: He was desperate to save your life when you got shot.

Ben just looks down in silent thought, struck deeply by this. Kate reads him, with some empathy reciprocated back to him. Then she turns to leave, starting to press open the exit door, as the light shines in again, Ben’s theme still playing. But before she leaves, Ben asks her one last thing:

BEN: You made a pretty good run over the years. How did you get caught by that Marshal?

Kate starts to think back on it, remembering the farmer Ray Mullen, a positive sentiment swamped in misfortune, and a reflection of choices in her life:

KATE: I was saving someone’s life.

She heads out the door, and we see one last frame on Ben’s profile as he thinks deeply on something, and his music fades out.

In the next shot, we see Kate stepping outside at the back of the station, and she looks around to see where Claire is. She notices, with us, that across the pale grass are two faded white lines. She doesn’t give it any thought, and starts to head on, turning around the corner of the station, calling for -

KATE: Claire?

And she turns around the corner and finds --

With a heartdropping dun, we see Claire is holding her hands over her head in surrender -- a camouflaged assailant standing behind her with a rifle aimed at her.

We get one last quick close in on Kate as her eyes widen with adrenaline, and Giacchino’s music escalates into a sudden shriek of terror. And the screen cuts to black.

[Commercial Break]

We are back on a frame of Kate as she stands tensely, watching ahead as the assailant holds his rifle at Claire’s back, the music beating each moment with tension.

And then he speaks:

ASSAILANT: Follow me to the front of the station, and no one will be harmed.

Claire stands tensely watching Kate.

ASSAILANT: Come closer.

Kate slowly nods, and slowly, cautiously, begins to head forth closer to the range of the assailant.

The assailant stands, watching closely, as Kate gets nearer. He slowly starts to shift the barrel of the rifle away from Claire to a middle range between the two women, before --

The music suddenly blares with beats as Kate lunges against the assailant, slamming into the left side of him, as he quickly struggles and tries to reposition his aim for Claire, but it’s too late as Claire suddenly spins grabbing for his rifle and yanking it from his reach as he struggles against Kate.

Claire then swings the butt of the rifle against the chest of the assailant, knocking him back with a painful oof!, and he uses the momentum of the knock to quickly turn around into a dash, as Kate pulls her pistol out of her pocket while Claire swings her rifle around the right way, and with a roaring gunshot Kate fires at the assailant but barely misses, as he runs to hide through a clump of trees.

The music blares less but remains anxious as Kate turns to head back for the back of the station, Claire following her lead. We then see a few shots of the two women quickly running around back to the exit door, pulling it open and entering the building as it closes shut behind them, Miles and Ben hurrying urgently down the passage to them, Miles’s gun out. The beats of music a bit softer but still anxious inside.

MILES: What happened?

And Kate says urgently:

KATE: We’ve got company!

Miles looks alert, Ben calculating, and Claire with a flash of darkness in her eyes.

KATE: I’m scouting the front, cover me!

And Kate heads forth, followed by the rest, as we wooooooooosh to:

We are back in Kate’s house, as we see a now 12-year-old blonde boy, Aaron, (actor indeterminate) at the kitchen table, writing down on some homework, as Claire cooks something on the stove. We follow Kate as she enters. Kate looks concerned for the boy.

KATE: How was school today?

Aaron pauses, and with a strange pause, he turns his face with a cold look, and just says in a low tone:

AARON: It was okay.

Suddenly, we hear a cellphone’s ringtone. Kate pulls it out of her pocket and answers:

KATE: Hey!

We hear Sun’s Mother speaking on the other side, in what we can faintly make out as a worried-sticken tone:

SUN’S MOTHER: Kate, I need your help!

We see concern wave over Kate’s expression immediately.

KATE: What’s wrong?

In the next frame, we see Sun’s Mother on the phone, looking more silvery and wrinkled with the time since we last saw her. She has an almost panic in her face, almost in tears. She is standing out near a building somewhere, her spare arm around a young nearly-12-year-old Asian girl, Ji-Yeon, (actress indeterminate) who is sitting still and dignified but we can clearly see the terror she conceals in her eyes.

SUN’S MOTHER: Men tried to take Ji-Yeon today. I barely got her…

In the next frame, we are back on Kate’s startled eyes.

KATE: Are the police there?

SUN’S MOTHER: They threatened the police on us for my husband’s dishonest dealings with them.

KATE: Who are they?

In the next frame, we see Sun’s mother again:

SUN’S MOTHER: It was Dr. Galen and his men.

In the next frame, we are back on Kate as her eyes turn dark, with a haunting musical note.

KATE: Where are you now?

We can hear Sun’s mother say something over the phone.

KATE: I’m on my way!

Kate hangs up the phone, and we get a shot of Claire’s worry, and a blank look from Aaron.

KATE: Meet up at James’s.

Kate turns, lifting up the phone again to her ear. The music beating with urgence.

KATE: James, we need you.

In the next shot, we see Ji-Yeon and Sun’s Mother sitting in the backseat of a car, and then we hear a front door closing - the next frame is on Sawyer, more gray-haired as he is in the present day - as he turns back to look at them, and facing a guilt he has avoided these years.

SAWYER: Don’t worry, I’m gonna take care of you both.

Sun’s mother is silent but nods slightly with a thankful smile. And Ji-Yeon says quietly:

JI-YEON: Thank you.

Sawyer thinks for a moment on her, this girl thanking him, whose parents whose deaths he feels responsible for. Sawyer turns his head back to an open window, and we’re then on Kate as she stands outside looking in.

KATE: I’ll be back soon.

SAWYER: Where you going?

We then see Kate’s hand hold against her pocket - the handle of a pistol clearly inside. The music raising softly with a worry, and we see in Kate’s face that she knows he will not approve - and he certainly exchanges a glance that suggests “What are you getting yourself into?”

KATE: I’ve got some business to take care of.

And with a small sigh, she turns and we see her walking away from the car, leaving it in the background, as she heads to the foreground with severe apprehension for what awaits, the music waving lowly with suspense, and we wooooooooosh away to:

The camera is on the front of Hurley, Sawyer, Diya, and Walt in the back, crossing through pale grayish woods again.

SAWYER: So Hugo, what did you do while captive?

HURLEY: I tried to negotiate a peace deal, with their leader, Theodor. That was Plan A.

We see in Diya’s face a pessimism.

DIYA: I’ve never known Theodor to be one for peace.

Hurley halts, the others halting behind him. The camera then cuts to who is standing before Hurley - Jack. He looks uneasy.

JACK: Our people are surrounded.

We are then on Hurley again, as we see this hit him, the others behind him blind to Jack, and Walt off behind where he couldn’t see him. We hear a few soft notes of suspense.

SAWYER: Why are we stoppin’?

We get one last look on Jack, and then back to Hurley.

HURLEY: No reason.

The camera is now on Walt in the back. We notice with him as he sees, standing in the trees -

Locke again. But this time, he is standing. Walt approaches him. Locke is wearing his dark burial clothes now. The music is a variation of Locke’s theme, sounding a little softly haunting, like this (approx 0:39 - 0:49).

WALT: John? What is it?

We see Locke stare at Walt, as he seems to carry an intensity, perhaps of anger or conviction, in his eyes. But he just says calmly:

LOCKE: You asked before, what I think of my death.

We then see Walt’s face again, a visible uncertainty about what Locke is going to say. And then we are back on Locke’s intense but stoic expression again, as he drops:

LOCKE: I think the one who killed me needs consequences.

We then see Walt’s expression, stunned, as the music escalates and the scene cuts to:

We are now back on Kate and Ben’s apprehensive faces in the forefront of the frame as they head through the station, Miles and Claire just behind them.

We then see a wider shot of the four of them as Kate leads the group through, a few tense moments as she heads out to the ruinous front opening of the station, the music beating heavier with tension again.

Kate holds her pistol aimed, shifting slowly left and right, ever watchful of the surroundings. Miles holds his pistol and Claire holds her rifle tightly.

The music begins to escalate increasingly higher with tension, as still no one is around to be seen. We see quick shots of Kate’s, Claire’s, Miles’s, and Ben’s expressions. The tense music escalating higher.

Another shot panning across the shattered wall ahead, the empty outdoor in view. The music escalating higher. Kate walking slowly as she grips her pistol tensely.

And with the music at it highest, as we follow the group out, it suddenly quiets - and then with a heavy dun -

We see the half dozen SAMSARA assailants surrounding the opening into the station, waiting along the sides with their various guns held. Kate, Claire, and Miles quickly point their guns in directions of some of them. They are all in camouflage. Well, all but the one in dark clothes, who steps forward.

KATE: Hold your fire!

The others hold their guns tensely. Theodor, then, begins to aim his gun down at the ground. Kate points her gun intensely at him, and a few of the SAMSARA troops have their guns pointed intensely at her. He has a softness in his expression, apprehensive though calm.

THEODOR: You are outnumbered.

KATE: We can still kill a lot of you.

With tense beats, Theodor stands, thinking in his mind on his next statement, which he states, in his faint German accent:

THEODOR: You are correct. But there’s no need for bloodshed - on either side.

Theodor slowly begins to place his pistol back in his pocket, as he keeps his gaze on the survivors, and they keep their gaze back on him and the other assailants. He then cautiously says:

THEODOR: We don’t want a fight. I just want to talk -

He lifts his hand and points his finger to Kate.

THEODOR: To you.

Kate is struck by this.

KATE: Why me?

THEODOR: You seem to be the leader here.

This remark surprises Kate, although we realize that it seems to ring true. We also see a quick shot of Ben’s reaction to this.

KATE: No one is harmed. You let my people go back in.

Theodor nods slightly.

THEODOR: Agreed.

Theodor gives a wave of his hand. The troops slowly begin to lower their weapons pointed down. Kate gives a nod to her group, and they begin to point their weapons down too.

Miles and Ben start to slowly head backwards inside.

KATE: Claire, go.

CLAIRE: I’m staying with you.

KATE: You need to go in. I’ll be fine.

Claire reluctantly agrees, and begins to slowly walk backwards into the building. Kate looks to Theodor.

KATE: What do you want to talk about?

With a quick pause, Theodor simply says:

THEODOR: Come with me.

The screen cuts to black.

[Commercial Break]

The camera is on the sight of some alley behind a building, the weather thundering. Ahead is Galen in business suit as he walks through, and coming into the foreground of the shot is Kate, hurrying forward towards him. A horn of music starting to blare up as she closes in on him -

The next shot is on his expression as he walks through - and we see in the background behind him, Kate suddenly holding up her pistol at him, the music silence, as she cocks it - and he halts with the sound, raising his hands up in surrender. In his raspy voice, he says:

GALEN: Greetings again, Miss Austen. I know you were following me.

We start to see rain trickle down on both of them. We then see Kate’s expression, one of anger and determination. The music beats softly ominously.

KATE: Then you know I’m going to finish this.

We then see Galen’s smile. The rain getting heavier.

GALEN: I know. You are a murderer.

Kate holds her gun still, a rage in her eyes.

GALEN: But... your job would be done for you soon anyway.

We see a shot of confusion on Kate. And then a shot back on Galen:

GALEN: I am dying of pancreatic cancer.

We see this register in Kate’s mind, and wondering if he is telling the truth or not. She holds her gun intently at him.

GALEN: But you should realize, we’ll release records of you breaking the law.

KATE: I haven’t.

GALEN: You’re not allowed to leave state, punishment for murdering your father.

KATE: My parole ended two years ago.

GALEN: But some years ago, you went to Iowa - to see your mother’s grave, I believe?

We see Kate struck in her eyes.

GALEN: Not to mention, the suspicious circumstances surrounding your last plane’s disappearance.

Kate holds her pistol at him, more severely. We see in her eyes, the desire to pull the trigger burning through her.

GALEN: We have power over you.

A pause, the rain pouring. He then remarks:

GALEN: You hold the power of death in your hand. Doesn’t it feel right?

Kate holds her gun at him still, silent.

GALEN: But it’s not power enough to stop a corporation. You should realize - when I’m dead, somebody else will take my place.

KATE: Is that supposed to stop me?

GALEN: No - but I have a proposition.

Kate remains silent. And Galen reveals:

GALEN: There is another Island.

This stuns Kate, and hits her with confusion as to his point.

GALEN: I would like you to get us there.

KATE: If you want it, go yourself.

GALEN: We can’t anymore, we lost it.

There is an ominous beat of music.

GALEN: But your friend, Mr. Reyes, may know how to find it.

And then another pause -

GALEN: You saw the first Island. You know its power -

There is a mystical tone of music.

GALEN: This island could give you power over death - danger…

Kate holds her pistol intently at Galen still.

KATE: I already have that - right now.

Galen, his hands still held high, slowly starts to turn around to face Kate head on, the rain pouring down now.

GALEN: So pull the trigger.

There is a pause of hesitation. Kate holds the gun, and we see a shot of her finger twitching at the trigger. The pulsing need to kill this man. The music escalating with that tension. And then, egging her in a manipulative tone that would make the old Ben Linus proud:

GALEN: I’ll come after Aaron next.

He smiles. The music escalating. The rain pouring. Kate’s eyes flaring with murder now.

GALEN: I am ready. Kill me.

The music escalating more heavily, into an intense, fast variation of Kate’s theme. We close in on Kate’s eyes, the overwhelming fire consuming her. Any second now, we know she will pull the trigger -

The music escalating, and then, in a sudden silence -

Kate’s finger at the trigger - lets go.

And she exhales the air that was in her chest. The music in a low hum of some relief.

KATE: That’s not who I am anymore.

She turns away. We then see a frame of her, Galen now in the background, lowering his arms, as Kate puts her pistol back into her pocket, and then starts into a run from him, down the alley, to the foreground. And we wooooooooosh to:

We are on Kate again, now walking with Theodor and tough-looking man with him, outside in the pale grass, the sun starting to set. They are walking near one of the other buildings close to the station. Theodor is carrying a thin headset in one hand. They come to a couple of chairs knocked over on the ground. Theodor lifts one up, and then goes and lifts the other, taking a seat in it.

THEODOR: Have a seat.

Kate sits in the other chair, eyeing him as she wonders his intentions. Theodor looks to the man with them.

THEODOR: That’ll be all for now, Foster.

He replies back sternly:

FOSTER: That’s not a good idea, Theodor.

THEODOR: We’ll be fine. Make sure Garrow is honoring the agreement.

With hesitation, Foster turns and leaves. Theodor then places the headset he has been holding on his head, its mic tilted to the side.

KATE: What did you want to talk about?

THEODOR: I’d like to make an offer.

KATE: What offer?

A pause, and then he states:

THEODOR: We have a vast amount of power here. We can probably give you anything you want.

This does not surprise Kate, as she has heard indication of the power of this island before. But she does not trust him at all. And yet, at the same time, there is a lot about this that undeniably tempts her. So she just asks:

KATE: In exchange for what?

And he replies, frankly:

THEODOR: I want you to bring us Hugo Reyes.

A low dun. Kate’s expression turns apprehensive again.

KATE: Why would I do that?

THEODOR: ...What is your name?

KATE: Kate.

THEODOR: Well, Kate, we are very interested in what he knows. He protects an island like this one, as I’m sure you’re aware.

Confusion marks Kate’s face. And we hear a few low notes of Hurley’s theme.

KATE: How do you know him?

THEODOR: I will be honest with you - we had him in our facility. But he escaped yesterday.

This lifts Kate’s expression a little with surprise, apprehension and gladness all together.

THEODOR: I’m only interested in peace, Kate.

We can see the skepticism in Kate’s eyes, as can Theodor.

THEODOR: We’re not going to harm him… He’s been quite fine with us, as I’m sure he will tell you.

There is another pause, Kate still ever apprehensive of him.

KATE: I just want the Hanso Foundation to stop terrorizing our lives.

Although we sense that for Kate, this may not be all she desires. Theodor registers this in his mind. And he says, with a kind tone:

THEODOR: I can make sure you’re safe. This island is what they care about most. But I control it - I have the leverage.

Kate thinks on this for a moment. Theodor then, to play another card, tilts the mic to his mouth, and speaks:

THEODOR: Belle, do you copy?

And a pause, as we see Theodor registering what he hears in the headset.

THEODOR: Tell me.

He then tilts the mic away.

THEODOR: One of my people has an extraordinary gift - to speak to the dead.

There is a musical tone of mysticism, but Kate furrows her brow with skepticism to this.

THEODOR: She is speaking to a man’s spirit right now.

A pause, and then -

THEODOR: He has told her that you murdered him.

With a dun, this strikes Kate with surprise.

THEODOR: Who is this man?

Slowly, not entirely sure why, she reluctantly confesses:

KATE: My biological father.

Theodor nods understandingly.

THEODOR: He says we should kill you.

Kate’s expression is struck again, and we hear another dun. But Theodor says reassuringly:

THEODOR: But we’re not going to do that, Kate, I assure you.

And a pause -

THEODOR: And he says - after that, a man close to you died. And you ran.

This hits Kate also. We begin to hear a slow, soft variation of Kate’s theme again. She is starting to think, perhaps it’s true? She admits his name:

KATE: Tom…

We see Theodor reading her. And he remarks:

THEODOR: Death seems to have held its hand on your life.

Kate doesn’t respond to this, though in her eyes, she gives away a yes to this.

THEODOR: I can understand running.

He then adds, his continued observation:

THEODOR: But now you’re forced to face it head-on.

Kate is unnerved by how well he seems to read her. Theodor, calculating in his mind, then says:

THEODOR: The blonde, you were very protective of.

Kate is also uneasy at this, that he noticed. She says softly:

KATE: She’s like my sister.

He nods, understanding. We start to hear Kate and Claire’s sideways theme.

THEODOR: Do you have children?

KATE: Her son is like my own.

THEODOR: And you’d do anything to protect him. It’s not about you. You have your children, your children’s futures, to protect.

Kate nods slightly to Theodor’s accurate guess.

THEODOR: I see. You’re not a murderer. You’re a lifegiver.

Kate is - oddly, uncomfortably touched - by this suggestion. This is how she would prefer to see herself. The music elevates emotionally. (0:21 from the previous track)

And then, as Theodor begins to make his next statement, we begin to hear his theme. It’s almost something darkly tragic -- just as Jacob’s theme unmistakably reminds us of Raiders of the Lost Ark, perhaps this theme reminds us of another John Williams theme, Schindler’s List, though a unique composition from Giacchino. It also has elements of a rearrangement of the Man in Black’s theme, and some darker mystical notes like a dark opposite to Jacob’s theme.

THEODOR: I’ve spent my years trying to give life to those who are losing theirs. … I’ll make sure that your children are safe.

Kate looks down, ashamed to think - the offer is almost tempting. And Theodor, believing he almost has her, presses further, for the straw to break the camel’s back:

THEODOR: What else can we give you, Kate?

And as Kate thinks - we start to hear the soft, ominous piece of Kate and Jack’s haunting flash-forward theme. (0:32 - 0:49) And she finally breaks with what has weighed deeply on her heart - and says:

KATE: There’s another man I loved… and lost.

Theodor listens, a soft empathy in his eyes. And we start to hear a variation of Jack’s theme. (1:27 - 1:52)

KATE: His name was Jack. If you have the power to talk to the dead...

Theodor smiles, and nods, understanding.

THEODOR: You want to speak to him.

And we hold on Kate for a moment, as she is close, so close, to agreeing to this offer. It might be a fool’s hope, but she would so desperately like to speak to Jack again somehow. This whole time, since coming to this island, she has secretly hoped that maybe, it was somehow a possibility. We hold on her tensely for a few moments, as she makes her decision.

The music trails off, and as we see in Kate’s eyes, that she knows she can’t give into this temptation. She slowly starts to shake her head. She won’t betray Hurley.

KATE: I can’t.

She quickly gets up from her seat, and turns, starting to leave. Behind, we see disappointment in Theodor’s eyes. And as the shot holds on Kate’s face, almost in tears at what she almost agreed to. Theodor in the background, simply states:

THEODOR: If you change your mind, the offer still stands.

The shot still holds on Kate as she walks away, with a very faintly soft, somber tone of music. The screen then goes black.

[Commercial Break]

Closing the door, Kate hurries in through Sawyer’s apartment.

KATE: I’m back.

Claire, Aaron, Sawyer, Ji-Yeon, and her grandmother, are all seated around the area, the TV on. Claire looks warningly to Kate:

CLAIRE: You need to see this.

Kate gets closer in view to see the TV. We see a worried reaction shot of Ji-Yeon watching the screen, a child being used in something more than she should have to deal with. And we hear a low ominous hum:

NEWS REPORTER: And the breaking news is just in, that Kate Austen, member of the Oceanic Six, is now wanted by authorities.

Kate’s mugshot appears on the screen. Off the screen, we see the reaction shots of the others as well, including Kate’s dread-ridden one.

NEWS REPORTER: Photos have been released of Austen in Iowa, violating her parole several years ago, which she was charged with for a series of crimes:

Photos then appear on the screen of Kate in a car, at a gas station, and at the graveyard, each marked with locations and dates.

NEWS REPORTER: Sources also indicate that Austen may have information on the disappearance of Ajira Airways Flight 316-

As a recording of Flight 316’s liftoff appears on screen, our camera takes us to a wider shot of the group watching the TV, and then close up on Kate’s apprehensive profile.

KATE: This is just the beginning. They’ll come for all of us. We need to run.

But we see in Kate, that it’s sinking in, that she herself, will never be able to live life free again. It’s over, for good.

Suddenly, we hear the door open again. Everyone turns -

Hurley, dressed in business suit, comes inside, followed by Miles. Kate, with a pleasant surprise, gets up and goes to approach Hurley, as Claire and Sawyer follow slowly behind.

Hurley gives an optimistic smile. We hear the first half of his sideways theme (0:00 - 1:10).

HURLEY: Hey guys.

KATE: Hurley.

She smiles.

KATE: We need you. They’re after us now.

Miles nods.

MILES: They already attacked Richard last night.

KATE: What can we do?

HURLEY: Do you trust me?

Kate slowly nods, and says with the deepest sincerity:

KATE: I trust you.

He keeps smiling.

HURLEY: I’ve got a plan.

We see one last shot of Kate, as we wooooooooosh to:

We are slowly, quietly following Kate as she heads through the dark corridor, back to the console room of the station. Claire, Miles, and Ben are awaiting inside. She gives them a little nod of assurance as she comes in.

And then, on the screen, Cindy appears again, with a smile.

CINDY: They’re here.

She steps away from the screen. And we see --

Desmond Hume. More gray in his hair, but still shaven with very light scruff. He’s wearing a blue shirt under a brown coat, and blue jeans. He has a small smile. We softly hear the first few notes of his theme (up to 0:20).

He asks softly in his Scottish accent:

DESMOND: How’re things there?

KATE: We’re working on it. Did everyone make it to the Island alright?

Desmond nods with a smile.

DESMOND: Aye.

He steps out of the way, allowing - Aaron Littleton and Ji-Yeon Kwon to appear on the screen.

Claire approaches with Kate to the screen.

AARON: Hey mom, Aunt Kate.

JI-YEON: Hello Miss Austen and Miss Littleton.

Kate smiles, almost teary-eyed again, for the ones her heart truly lies with.

KATE: Hey you two.

We start to hear a variation of Claire and Aaron's theme.

CLAIRE: Are you both okay?

Aaron nods blankly. Ji-Yeon quietly affirms:

JI-YEON: Yes, ma’am.

Claire smiles with Kate.

AARON: How long are you gonna be there?

KATE: As long as it takes.

AARON: I wish you were here now.

Claire smiles with a warm, motherly confidence, and says:

CLAIRE: We’ll be there soon, I promise.

The music gets heavier, and Kate, still almost in tears, says:

KATE: You know I’d do anything for you. Both of you.

We see Aaron nod and Ji-Yeon smile on the screen.

And with a few soft notes of the piano, we then see a shot of the broken front room, nighttime now, as Hurley, Diya, Walt, and Sawyer arrive. Walt halts behind them as he sees Locke, in his wheelchair again, rolling next to him, and confessing an answer to Walt’s earlier question today:

LOCKE: Walt, the truth is, I’m still trying to make sense of my death.

Walt listens. And Locke just admits, as he rolls the wheels:

LOCKE: I still don’t know what my purpose is - or was. That’s what I’ve been trying to figure out the past ten years.

Walt nods.

WALT: What about Ben?

Locke has a sort of smiling frown, as he looks down, but tries to keep a warm front.

LOCKE: He’s found something for himself. That’s good.

Locke wheels forward, and Walt looks on, furrowing his brow in confusion, as this seems oddly contradictory to what Locke said earlier.

We then cut back to the console room. And we hear the music transition to a soft, faster version of Hurley's Handouts, as the remaining sound effects mute, and the camerawork goes into a lightly slower motion.

In a montage while this music quietly plays, we see Kate, Claire, Miles, and Ben each turn their attention to the arrivals, with surprise - for Diya, and pleasant surprise for the rest.

We see varying grins and smiles to see both Hurley and Walt finally reunited with the group, along with Sawyer, the gang together again. Kate says “one moment” to the screen, muted to us among the music, before she turns.

Claire goes in to hug Hurley as he smiles. Kate goes to hug Sawyer as he has a small smile as well. Ben gives a grinning Walt a handshake, as Hurley then gives Ben a bear hug and he awkwardly hugs him back.

Diya looks around, a warm smile seeing this family reunited. Claire and Kate each then give Walt a hug. We see Locke in the room, as he and Walt exchange warm smiles.

We then see Kate and Claire introducing themselves to Diya. And then Sawyer giving Miles a bro-handshake.

The montage then slows as finally, Kate and Hurley come together into an embrace, the two leaders.

The camera pans around them, and we see Jack smiling as he watches both of them. The music beginning to quiet down.

Locke gives a soft glance at Ben who is acting warmly with the others, and Locke just smiles, looking down in thought.

We see one last shot of the montage, of Jack looking to Locke, giving him a friendly smile and nod. We see Locke smile warmly back to Jack.

Hurley turns and notices Jack who begins to walk away. He follows him. The music fading out.

Miles goes to Sawyer, showing him the fragment of the film with his father on it. Sawyer nods.

SAWYER: So, you think he might still be here?

We see an uncertainty in Miles’s eyes.

Hurley follows Jack back to the broken front room.

HURLEY: Hey Jack. Want me to get Kate?

Jack halts, and we see him turning, looking down in thought, and we wonder, will he agree to it? Hurley is hopeful.

Jack then at last gives his answer, turning to look at Hurley. And he shakes his head with reluctance, and says with a soft piano beat:

JACK: I don’t want her to hold on. Just let the dead be dead.

Jack starts to turn again, but a confused Hurley says:

HURLEY: Then why are you still here? You never did tell me.

Jack turns back to face him. We hear a low ominous piece (1:49 - 1:52) as the camera slowly closes in on Jack. He stands in the dim night light, and we see him thinking on his answer, something deeply weighing in on him, unsure if he should reveal.

And then finally, he says --

JACK: I still haven’t found my father.

And with a soft ominous piece, we hold on Jack for a moment as he turns and heads back for outside. We see one final shot of Hurley as he registers what Jack just said.

And we see one final shot overhead as Hurley watches across the broken room of Jack leaving.

And with a soft tone,

L O S T

[End Credits]

Chapter Text

PREVIOUSLY, ON LOST…

[From 7.01 Another, we see as Walt finds Diya under the muddy vegetation. Also the Second Monster dragging Walt.]

[From 7.02 The Gifted.]

DIYA: I was the one in charge of creating it. It’s my responsibility.

[From 7.03 Death’s Hand, we see Desmond on the screen of the Locomotive station.]

KATE: We’re working on it. Did everyone make it to the Island alright?

DESMOND: Aye.

[We then see a dark Locke standing in the forest.]

LOCKE: I think the one who killed me needs consequences.

[Then Locke in a wheelchair, rolling with Walt.]

WALT: What about Ben?

LOCKE: He’s found something for himself. That’s good.

[Then Walt’s confused expression to Locke’s contradictory sentiment.]

Episode 7.04: Samsara

Our first shot is that of an eye - and we then see it is a child’s eye, a girl about age 10 of Indian ethnicity. She is at a wood table outside, a dreary farm with an orangeish hue in the air in the background. Her hands are at work, building something on the table.

She then finishes, turning and taking her creation in hand, as a man in tattered clothes appears walking up. He is also Indian in ethnicity. (Actor indeterminate.) He speaks in Hindi, subtitles translating his line:

MAN: दीया, क्या कर रही हो?/deeya, kya kar rahee ho? [Diya, what are you doing?]

DIYA: देखो, पिताजी, मैंने क्या बनाया है!/dekho, pitaajee, mainne kya banaaya hai! [Look, Father, at what I made!]

We then see what is in her hands, some kind of mechanical construct assembled together from fragmented pieces of farming equipment, with what almost looks like arms outstretched from it, and two bells at the front resembling eyes.

DIYA: यह खेत में आपकी मदद करने के लिए एक छोटा आदमी है/yah khet mein aapakee madad karane ke lie ek chhota aadamee hai [It’s a little man to help you with the farm.]

Her father smiles slightly in amusement for his daughter’s imagination, but then shakes his head.

DIYA: मुझे नहीं पता कि उसे जीवन में कैसे लाया जाए।/mujhe nahin pata ki use jeevan mein kaise laaya jae. [I haven’t figured out how to bring him to life.]

He then states, firmly but kindly:

DIYA’S FATHER: आपके पास एक महान कल्पना है, चीजों के निर्माण के लिए एक महान दिमाग। आपको अपना दिमाग खेत में लगाना होगा।/aapake paas ek mahaan kalpana hai, cheejon ke nirmaan ke lie ek mahaan dimaag. aapako apana dimaag khet mein lagaana hoga. [You have a great imagination, a great mind for building things. You must put your mind to the farm.]

She looks down a little disappointed, and sets the object aside on the table, then turning back to face him.

DIYA’S FATHER: आइए/aaie [Come.]

In the next shot, we see the two arriving at a Peepal tree, its branches outstretched over the two of them with green. There is a soft, mystical music playing. In Diya’s father is a deep spirituality and conviction:

DIYA’S FATHER: हमारी सफलता की कुंजी आत्मा में है। आपने अपने खिलौनों में भावना नहीं पाई। लेकिन आप इसे प्रकृति में पाएंगे।/hamaaree saphalata kee kunjee aatma mein hai. aapane apane khilaunon mein bhaavana nahin paee. lekin aap ise prakrti mein paenge. [The key to our success is in the spirit. You won’t find spirit in your toys. But you will find it in nature.]

We see young Diya tying a red cloth on a branch of the Peepal tree.

DIYA: मुझे ऐसा क्यों करना चाहिए?/mujhe aisa kyon karana chaahie? [Why must I do it?]

Diya’s father grows a bit softer with her in his expression. We hear more sentimental music. And he simply says:

DIYA’S FATHER: आप मेरी तीन बेटियों में सबसे बड़ी हैं। और तुम्हारी माँ के गुजरने से पहले मेरा कोई बेटा नहीं था/aap meree teen betiyon mein sabase badee hain. aur tumhaaree maan ke gujarane se pahale mera koee beta nahin tha [You are the eldest of my three daughters. And I had no son before your mother passed.]

We see a poignance and burden in young Diya’s eyes, but it’s a burden to help her father. He then says with a kindness but insistence:

DIYA’S FATHER: हमारा काम यहाँ प्रकृति में है।/hamaara kaam yahaan prakrti mein hai. [Our work is out here in nature.]

We see one last shot on Diya as she nods to this, and we see that she is compliant, though pensive in what her father has laid unto her. And we wooooooooosh away to:

Diya stands alone outside in the night, in her white shirt (with the stains of mud on it), facing the Locomotive station in the distance, observing its broken entrance, and then turning to look around at the other abandoned buildings near by, some rubble scattered about, a few abandoned vans. We can see in her eyes as she takes in the sight of destruction, feeling a burden she has long held in her history on this island. And there is also a worry for the future, how things will unfold ahead with the two groups on this island now.

In the next shot, we are seeing Diya at a long distance through the POV of binoculars as she returns to inside one of the buildings. The binoculars are then pulled away. We then see that one of Theodor’s men, in his gray-and-green camouflage, is the one observing her from a distance. He is standing near some trees. He turns and proceeds to where the rest of his group is hidden further in, all gray-and-green, except for Theodor who wears black. And he reports to his superior:

SAMSARA TROOP: Sir, I’ve sighted Asset D. She’s with Reyes’ group in a building.

This strikes Theodor, as we see him processing this in his mind. The other men around him, watching to see what he will decide. And then he takes out a walkie-talkie, clicks and speaks into it:

THEODOR: Gaughan, we need reinforcements in Sector B.

Theodor lets out a breath, knowing trials lay ahead of them.

In the next shot, we are inside as we see Walt asleep in blankets on the floor of a dark room, and then a wider of shot of the other survivors - Kate, Claire, Sawyer, Miles, Hurley, and Ben, laying about in similar fashion in the wide room.

Then we see Diya standing awake among them, as she observes them, wondering on them.

And we hold for a moment on the group in the quiet of the dark, - before we hear the sound of a haunting ticking, accompanied by a low suspenseful tone.

And then we see smokey essence creeping through the cracks of a door, seeping into the room while they are all asleep. The silvery-gray smoke monster, starting to form up into its usual cloudy shape.

We then see a shot on Diya’s expression: she does not appear fearful, or at least not fearful for her own life. It is a different kind of fear, a fear for the consequences of her past actions, for what she created. She stands silent, watching. She does not wake the others, for she expects danger less likely to befall them at this time.

The monster hovers over through the room in its low mechanical-esque growl, and it halts at Diya, for a moment, the front cluster of its essence almost protruding forth as if to observe her. We can hear the electrical ticking from within. Diya stares back into it for this moment - although she already has long known all its workings, she feels compelled to just see into it this one moment at this perspective. The Monster does not scan her, however, for it already knows her. We feel the connection of this brief moment as well in the music, some of Diya’s Theme being heard.

The Monster turns its front away from her, and with flashes it starts attempting to scan the other survivors as they lay about in the room, the music lowly escalating.

But it doesn’t get to do so for long, before everyone suddenly jerks awake! And the music escalates heavily, as everyone scrambles and yells.

With one last animalistic roar loudly bellowing into the room, there is a bursting flash, almost blinding, that hits everyone in the room. The music has gone abruptly silent.

And in the next shot, we and the characters see, that the Monster is gone. Everyone - Kate, Walt, Sawyer, Ben, Hurley, Miles, and especially Claire, is standing, heart-pounding from this night terror, speechless, a low anxious but calmer tone of music. Only Diya doesn’t seem to feel terrorized. Though we can see a heaviness in her eyes, maybe a disdain for this whole situation, maybe something deeper.

And with one last shot on Diya’s face, we cut to black with a SMASH sound effect.

L O S T OPENING LOGO - it’s reversed

[Commercial Break]

A morning sunlight is now illuminating the inside of the building in which Diya, Walt, Hurley, Kate, Claire, Ben, Sawyer, and Miles have taken up residence. However, almost everyone looks fatigued, having not slept the night. Only Diya still appears as physically lively as she did during the night, though still in quiet contemplation.

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Jared Harris, June Kyoto Lu, 5 undetermined guest actors, 4 undetermined guest actresses. Special Guest Star Sam Anderson, Special Guest Star L. Scott Caldwell, Special Guest Sonya Walger. The rest of the credits also listed.]

Finally, Sawyer breaks the ice:

SAWYER: What was it doin’?

Diya explains, as one who knows it well, in her Indian accent:

DIYA: It was trying to read each of you.

CLAIRE: Why did it run? We couldn’t have done anything.

Diya holds back for a second on replying to this, not sure of how to put it, and then states:

DIYA: It didn’t want a conflict.

KATE: How is it you know so much about it?

Diya says again, as she told Walt on a previous day, with a tinge of regret:

DIYA: I created it. That was before I knew what I was doing.

HURLEY: Well, is there a way to stop it?

DIYA: There are a couple of ways, but I know nothing foolproof.

As they’re speaking, they suddenly hear a gunshot fire up from outside. Everyone quickly looks to one another in apprehension, and Kate looks through the window, seeing a chair now set up on the pale grass outside. And we see that there is a walkie-talkie on it. There are soft, nervous beats in the music proceeding onward.

And with a moment of hesitation, Kate heads for the front door, one hand at the doorknob and one hand at the pistol in her pocket, and she opens, heading outside slowly and carefully. And she takes the walkie-talkie in her spare hand, keeping an eye out at the surroundings outside, a patch of forestry ahead, the ruins of buildings scattered about. No one seems to be around.

She clicks the button on the walkie-talkie, and asks with a calm apprehension:

KATE: Why are you shooting?

Back from the walkie, we hear Theodor’s voice:

THEODOR: To get your attention.

Kate is silent, and just listens to what Theodor says next, in his faded German accent:

THEODOR: I have something important to discuss with you, near the trees.

KATE: Talk here.

THEODOR: For security purposes, I’d rather you come here.

And then he adds:

THEODOR: Come alone.

Kate lets out a sigh of fatigue and sets the walkie down. We notice behind her, Sawyer, with a rifle, and Miles, with a pistol, have also stepped out, listening in on Kate’s conversation. She exchanges glances with them, and we see in their eyes an undisputed understanding -- that Sawyer and Miles are joining her. The music turns a quick flash of a little more heroic.

In the next shot, we see them walking across the grass, near the edge of the pale forestry, their hands carefully on their armaments, music suspenseful again. As they get closer in, we see Theodor standing, awaiting at the trees, in his cool-eyed stare and dark clothes. One of his tough men is with him, the one known as Foster.

Theodor, seeing Kate’s backup with her, remarks coolly:

THEODOR: I did say come alone.

Kate just shrugs it off. Sawyer and Miles stand on guard behind her.

KATE: You’re not alone either.

Theodor glances to Foster, who stands firmly next to him.

THEODOR: This is Foster. He is our chief of security.

We see a quick shot on Sawyer’s reaction.

THEODOR: Though, he likes to fashion himself as my bodyguard.

Foster looks gruff. Kate nods slightly, and keeping her focus on Theodor, then asks:

KATE: What do you want?

THEODOR: I have a new offer.

He glances past the shoulders of Kate’s trio, at the building the came from in the background. And then looking back to them, mainly to Kate, he says:

THEODOR: You don’t have to turn over Hugo Reyes.

Kate is wondering, then, what the “catch” is now.

THEODOR: There’s someone we need more…

And finally, he reveals:

THEODOR: All I want is Diya.

This takes Kate by some surprise, though she knows she still does not trust Theodor’s motives. Nor do Sawyer and Miles trust them.

KATE: Why would we hand her over?

We can see in Theodor’s eyes that he’s thinking through his mind, trying to determine how much the three of them know.

THEODOR: Why wouldn’t you?

KATE: We don’t just hand over strangers.

Theodor then turns his gaze to Sawyer and Miles. A recognition flashes in Theodor’s eyes.

THEODOR: You look familiar.

Sawyer shakes his head.

SAWYER: Never met you.

THEODOR: Oh, no, you haven’t, but I have seen you, in the old DHARMA photos.

With an ominous note, this strikes Sawyer and Miles with surprise, as Theodor looks to each of them.

THEODOR: James LaFleur. And Miles Straume.

SAWYER: What’s it to you?

THEODOR: I’d like to offer you both to join us.

MILES: Why?

THEODOR: By all accounts, you two oversaw the most peaceful years of the DHARMA Initiative. At least until the Incident.

We see another shot of Sawyer and Miles, as memory flows through their minds. We also see a reaction shot of Foster, taking perhaps an implication against him.

THEODOR: Of course, Foster has run things tightly these many years. But this has been an era of war. And we could really use a veteran expertise to police a more peaceful era.

This consideration flashes through Sawyer’s mind, almost temptingly. But he just asks:

SAWYER: What war?

THEODOR: Our war with Diya.

But this sets off a red flag for Kate.

KATE: How can you be at war with one person?

Theodor looks to her ominously, reluctant to say too much.

THEODOR: When said person holds key to many of this island’s secrets.

Through all of this, however, Miles has something else on his mind:

MILES: Dr. Pierre Chang.

Theodor looks to Miles.

MILES: Is he still here?

Theodor thinks in his mind before answering. And he then says, and we are not sure if he is telling the truth:

THEODOR: I don’t know. But we can find out.

Theodor holds up a hand, as though for a handshake of agreement. Kate, Sawyer, and Miles look to his inviting hand, but none take it. He starts to lower it again.

KATE: We don’t just hand over strangers for your convenience.

Theodor thinks on this, and tries to reason:

THEODOR: Diya can’t give any of you what you need. We stand for science. But she walked away from that many years ago…

And as Theodor begins that last sentence, the scene has already started to cut to back inside the building, closing in on Diya seated near Walt, before the line ends. Hurley is also seated near Ben, and Claire is standing near the window with her grip tightened securely on a rifle.

Walt, finally, asks Diya something that has been on his mind these past days:

WALT: That thing could have killed me when it took me down the hole.

Diya looks to him, thinking on his question, already sensing what he is about to ask.

WALT: Why did it just leave us there?

And Diya feels the best answer to give is an honest one:

DIYA: It can’t kill me because I created it.

But this still leaves a mystery for Walt himself - and she has an answer for him:

DIYA: And you, … I think it must have seen you were special when it read you.

Walt takes this in. And he wonders if this could be what he is destined towards, why his Island was leading him to come to this one.

WALT: Then what do I do?

Diya pauses a moment in thought for advice for Walt, and says somewhat mystically, echoing her father’s old beliefs:

DIYA: Focus on the natural. That’s the key to the spirit…

We see Walt take this into his thoughts also, as he nods slightly. And then the camera is framed back on Diya as she sees him thinking on this. Diya’s mind drifts to memory. Although we are not in a flashback yet, we start to hear a voice over from her past, an ironic one:

DIYA: (flashback voice over) We must focus on technology, the key to understanding the spirit...

And on Diya’s reflective eyes, we wooooooooosh to:

We are on Diya as she is in a wide room, at a microphone, giving a lecture before an audience. The audience seems majority Indian, although there are some international individuals in attendance also. Diya looks to be a good decade or so younger than we’ve seen her in the present. She is dressed formally in some kind of dark coat and is wearing eyeglasses. On her coat, is a nametag, Prof. Diya Mishra. There is a projector screen behind her, showing various panels of computer diagrams.

She has made the connection between spirit and artificial intelligence.

DIYA: What I realized early on in my life was that if we are to develop artificial intelligence, then we must accept the fundamental importance of the soul.

She takes a breath before next stating:

DIYA: The soul is what gives our body intelligence, and therefore it’s in a soul that we will create intelligence.

And then, she further adds enthusiastically:

DIYA: That is why, in my work, I have unified computer science with my studies in parapsychology and those who exhibit spiritual gifts.

The audience listens interestedly to her unique ideas:

DIYA: The importance of spirituality was taught to me by my Pitaajee, Pankaja Mishra...

We then see her eyes scanning the audience. The camera then focuses in on part of the audience, and we see a younger Indian woman (actress indeterminate) and her husband, the former with a red dot bindi on her forehead, watching Diya from the audience. But we don’t see Diya’s father among them.

We then see Diya’s eyes again -- a disappointment flickers through them, but she continues on with her speech. And she slightly struggles to say the next sentence:

DIYA: So it has always been my dream to advance our technology, for the benefit of not only him, but all our families in India.

And then finally, she says:

DIYA: So I want to thank you all who came your way here to IGNOU for this presentation, and I will now be taking questions.

We see one more shot on Diya’s eyes as she looks on through the audience, wondering where her father is.

In the next shot, it is a short while later, and we now see Diya with the red-dotted couple we had noticed in the audience earlier.

DIYA: आने के लिए धन्यवाद, सहाना।/aane ke lie dhanyavaad, sahaana. [Thank you for coming, Sahana.]

SAHANA: वह एक बेहतरीन प्रस्तुति थी, दीया।/vah ek behatareen prastuti thee, deeya. [That was a great presentation, Diya.]

DIYA: पिताजी कहां हैं?/pitaajee kahaan hain? [Where is Dad?]

The woman, who we now realize must be Diya’s sister, replies back with some hesitation:

SAHANA: वह घर पर ही रहा।/vah ghar par hee raha. [He stayed home.]

There is a slight flicker of hurt through Diya’s eyes.

In the next shot, we see a messy living room of a deteriorated-looking home. It is dark outside. Sitting on the couch is Diya’s father, gray-haired now, looking withered and depressed. Diya comes in through the front door. And she takes notice of a bottle of alcohol in his hand, before turning her eyes up to him.

And she asks respectfully:

DIYA: पिताजी? आप क्यों नहीं आए?/pitaajee? aap kyon nahin aae? [Father? Why didn’t you come?]

He looks to her slowly, his reply curmudgeonly:

PANKAJA: मेरे पास करने के लिए काम है।. मुझे कर्ज में दबा दिया गया है।/mere paas karane ke lie kaam hai. mujhe karj mein daba diya gaya hai. [I have work to do. I’m buried in debt.]

DIYA: मुझे माफ कर दो।/mujhe maaph kar do. [I’m sorry…]

She pauses for a moment, before saying:

DIYA: यह काम जो मैं कर रहा हूं, मुझे लगता है कि यह आपको आपके कर्ज से बाहर निकाल देगा। मुझे अभी कुछ और साल चाहिए -/yah kaam jo main kar raha hoon, mujhe lagata hai ki yah aapako aapake karj se baahar nikaal dega. mujhe abhee kuchh aur saal chaahie - [This work I am doing, I think it will get you out of your debt. I just need a few more years -]

But he then barks out:

PANKAJA: आप काम नहीं कर रहे हैं/aap kaam nahin kar rahe hain [You’re not doing work.]

He then starts to spit off on a rant:

PANKAJA: आपने मुझे बदनाम करने के अलावा कुछ नहीं किया। जिस काम के लिए मैंने आपको तैयार किया है, उसके बजाय आप इस कल्पना के लिए अपने तरीके से चले गए।/aapane mujhe badanaam karane ke alaava kuchh nahin kiya. jis kaam ke lie mainne aapako taiyaar kiya hai, usake bajaay aap is kalpana ke lie apane tareeke se chale gae. [You’ve done nothing but dishonor me. Instead of the work I prepared you for, you went your own way to this fantasy.]

DIYA: पिताजी, दामिनी और सहाना आपकी मदद के लिए इधर-उधर रहे हैं।/pitaajee, daaminee aur sahaana aapakee madad ke lie idhar-udhar rahe hain. [Dad, Damini and Sahana have been here to help you.]

PANKAJA: मैंने उन्हें यह काम करने के लिए नहीं उठाया। वह तुम थे!/mainne unhen yah kaam karane ke lie nahin uthaaya. vah tum the! [I didn’t raise them up to do this work. It was you!]

We can see this hit Diya, her father’s severe disappointment in her, his resentment. And we hear Diya’s Theme softly begin to play. (Reminder: It is momentary, sounding like something of a mix of Classical Indian Music and perhaps a rearrangement of Jacob’s theme. It has hints of sorrow and also the faint dark thumps as though one haunted by the Monster.)

PANKAJA: आपको एक पति मिल सकता था जो मदद करेगा। लेकिन नहीं, जो कुछ भी मैं आपको करने के लिए कहता हूं, उसके बाद आप मेरी अवज्ञा करते हैं।/aapako ek pati mil sakata tha jo madad karega. lekin nahin, jo kuchh bhee main aapako karane ke lie kahata hoon, usake baad aap meree avagya karate hain. [You could have at least married a man who would help. But no, you wouldn’t obey me on anything.]

We see another shot on Diya’s eyes, as this rant he flames out seeps into her being. And he fires off one last drunken insult:

PANKAJA: आप भयानक कर्म हैं/aap bhayaanak karm hain [You are terrible karma.]

Diya quickly turns to leave, heading back out the front door outside, shutting it behind, the music getting heavier. Standing at the front in the dark, we see the tears in her eyes, the one person she most wanted to please, now tearing her down so deeply.

She continues to hurry away from the door, heading towards the foreground of the camera. And we wooooooooosh off to:

We are now on a shot of an octagonal logo with “SAMSARA” written within it, on a teal-colored surface. We are hearing the sound of a vehicle moving. Then in a wider shot, we see that this is indeed, a van, like the vans DHARMA used on the first Island. It looks faded and deteriorated. And we see through the windshield that Sawyer is driving it, with Miles riding shotgun.

MILES: So what are we doing, Jim?

SAWYER: Just wanteda scout out our war zone.

As Sawyer is driving, we notice a small facility with a perimeter of lightposts like the ones we saw a few episodes ago, though they don’t appear to be on. We watch with them as they examine this for a few moments. Some music plays to note the moment.

We then cut to back inside the building in which the protagonists have taken shelter in. An armed Claire, along with Diya, Walt, Hurley, and Ben, still lingering around. Kate returns back in.

HURLEY: Where’s Sawyer and Miles?

KATE: They took one of the vans, they wanted a look around.

BEN: What for?

Kate takes a second before explaining:

KATE: Theodor seems to think he’s at war with Diya.

We see a reaction shot on Diya. She understands exactly what Kate means.

DIYA: All Theodor wants is more power, and he wants whatever I can give him access to.

Hurley says firmly:

HURLEY: We didn’t come to this island for war. We came here for peace.

Kate knows this will be hard for Hurley to hear, for his good intentions, but she knows she must say it nonetheless:

KATE: Hurley, whether we want it or not, a fight may be coming.

We see another shot on Hurley, as we can see the worry in his eyes. He is deeply convicted to not let things come to this.

We then cut back to the SAMSARA van. As they keep driving/riding, taking a few more turns around the grayish green grasses and trees, they soon find themselves driving past another sight: a ring of sonic barriers that had been portably set up some time ago, near another small facility. Some music plays to note the moment. On this sight, Miles remarks:

MILES: It looks like they were trying to set a trap for that thing.

SAWYER: Could be useful.

We cut back to the building the Losties are in. Kate is in a room, searching through drawers for any scraps of information she might find. As she is digging through, she pulls up an old photo.

The photo has a group of people on it. On this group, we notice Pierre Chang is on it, with a prosthetic arm, though not too much more aged than we left him in the 70’s. And we also see Theodor is on it. And remarkably, Theodor looks the same as he does now. Marked near the bottom of the photo, is “SAMSARA, 1985”. We hear a soft, haunting beat.

We then see Kate’s reaction shot as she pieces these facts together - she is a bit stunned, and a new suspicion is materializing in her mind.

In the next shot, we see Walt strolling a bit outside. Despite the risks, Walt can’t seem to keep himself cooped up in that building.

As Walt is walking, he sees Locke, in his white shirt, seated in his wheelchair. Locke is observing the environment pensively. Walt approaches him.

WALT: Hey, John.

John returns a friendly smile.

LOCKE: Hello, Walt.

Walt is almost tempted to a friendly conversation. But instead, he feels it’s important to ask about something that has troubled him since the day before.

WALT: John, yesterday, in the forest…

Locke turns to him.

WALT: You said Ben needed consequences for killing you.

Locke’s brow furrows in confusion, as this was not what he said at all. The music gets a little softly eerie.

LOCKE: No, I said it was good he found something.

WALT: I don’t mean when we got to the station. I mean when we were in the forest still.

Locke still looks puzzled by Walt’s remark. And he just shakes his head, speechless. Walt also looks puzzled, as he can see the sincerity in Locke’s expression.

We cut back inside the building. Hurley is looking through the refrigerator, although it seems to be broken and rotted inside, unfortunately.

Jack then appears next to Hurley, who senses his presence, turning towards him.

JACK: Everything alright?

Hurley lets out a sigh, expressing a burden on his conscience:

HURLEY: No. I didn’t bring everyone here for a war.

Jack says reassuringly, and we hear soft, warm beats of music:

JACK: Hurley, you’re not responsible for any war here. It was already going on.

Hurley takes in what Jack says. But still, he feels responsible for what goes on here.

JACK: And you didn’t make anyone come here. They chose here. They could have chosen our Island.

Hurley finds it helpful, Jack’s reassuring words of reminder.

JACK: You’ve done a great job keeping our Island secure.

We see one last shot on Hurley.

And then, the scene cuts again -- with the sound of a low bong, we now see the first Island. The camera is getting a distant, picturesque view of it, showing us the beautiful green mountains and the primal jungles, the Island in all its majesty. It’s daytime with clear weather.

In the next shot, we see Desmond, looking aged. More gray in his hair, but still shaven with very light scruff. He’s wearing a blue shirt under a brown coat, and blue jeans. He is quietly walking down a sandy white beach. Around him is the beach encampment, the one the Oceanic survivors had stayed at so many years ago. The one he, too, had stayed at for a short time. The beach camp looks rejuvenated and lively. We see that there are some new inhabitants, those of Hurley’s people, living in it. Desmond watches with a nostalgia. We very softly hear Desmond’s theme during this scene, with some notes of the main Lost theme mixed in. We also hear the sound of the ocean waves brushing against the beach.

The camera then pans to show us that Desmond is not alone. We are surprised to see that his wife, Penelope is also with him, looking a little more aged as well, in gray shirt and black pants. And with them is a young boy of about 11, with blonde hair, who resembles them both remarkably (actor undetermined). We know this must be their son, Charlie Hume. They both look around at the environment of the Island, this place that Desmond had so often told them about for many years. This was their first time being here.

And so we then hear in her British accent, Penny asking:

PENNY: How long will we need to be here?

Desmond looks uncertain. And, replying in his Scot accent, simply says:

DESMOND: I don’t know.

And he pauses, before he makes his next remark. One which surprises us:

DESMOND: I never thought I’d say this --

And we take a moment with Penny and Charlie to hear what he is about to say. He is looking out generally, not at any specific thing on this beach camp, but more at the Island as a whole. And he remarks, ominously:

DESMOND: But this is now the one place in the world I’d rather be.

And to that, we hear a dark eerie musical note. This note seems to reflect in Penny’s reaction as well. Coming from Desmond of all people, this simple statement carries the most haunting weight.

And with a soft thud, we cut to black.

[Commercial Break]

We see an overhead shot of the Barracks, with a slight amount of the surrounding green forestry and mountain base in view, as the camera zooms in slightly, before we cut to -

Inside one of the houses, a furnished, comfortable, and clean interior. Desmond, Penny, and young Charlie are now inside here, having traveled from the beach earlier. The three of them are growing accustomed to the surroundings of where they will be staying for the time being. We also see that Aaron, Ji-Yeon, and her grandmother are in the house with them, seated around already.

Desmond takes a quick glance around, and then says to Penny and Charlie:

DESMOND: Well, you two enjoy yourselves here.

Concern then flickers onto Penny.

PENNY: Where are you going?

DESMOND: Just thought I’d go see Rose and Bernard.

Though for Penny, there is clearly something more troubling underlying this, some seldom-spoken issue that the two have known these years. Penny just tries to suggest in an amicable tone:

PENNY: Why don’t you stay here?

Desmond tries to say, reassuringly, though we can sense that he knows what is troubling Penny:

DESMOND: I’ll be back soon, I promise.

Desmond turns and heads out the door, closing it behind him. Outside, as we hear the tweets of birds from the surrounding jungle, we see him walking away from the front stoop. We see the view of the yellow houses which look repainted, as he turns and notices someone standing near -- a woman who we do not recognize (actress undetermined). She bears a pale brown complexion and long dark hair. She is tough-bodied and quiet. We are perhaps reminded of Ilana when we see her.

DESMOND: Oh, hello, Tamar.

This woman, apparently named Tamar, replies back, in an accent of some vague Eastern mixture, perhaps Israeli and Russian:

TAMAR: Where are you off to?

Desmond smiles amicably.

DESMOND: I’m just going to visit.

Tamar offers apprehensively:

TAMAR: Let me come with you.

DESMOND: No, I don’t need anyone to babysit me. I’ll be fine.

Tamar relinquishes, and Desmond proceeds onward in his walk.

And the scene cuts away -- with the sound of a low bong, we now see the second Island. The camera is getting a distant, view of it, showing us the same dreary scenery we saw in the opening scene of 7.01 “Another”, the center gulf with the four islets pointed towards it, grayish and pale jungle and industrial landscape decorating the islets.

In the next shot, we are back in the building that the Losties had taken residence in. Hurley and Ben are seated together. Ben takes notice of the worry reflecting in Hurley’s eyes. We hear soft notes of music during this scene, reminiscent of notes from Hurley’s theme and Ben’s theme.

BEN: What’s on your mind, Hugo?

HURLEY: I can’t figure out what to do. I don’t have any control here.

Ben notes:

BEN: I think in times like these, it’s best to follow the Island’s will.

But for Hurley, that’s just the problem --

HURLEY: I don’t know what the Island wants.

Hurley looks to Ben, clearly hoping he has some more insight. And Ben wishes he had more to give. But he can only admit:

BEN: I wish I knew what to tell you.

Ben pauses a moment in reflection, before adding:

BEN: I used to pretend to know what I was talking about, but I had no idea. I even used to pretend I spoke to Jacob.

Hurley smiles, and says self-referentially:

HURLEY: Well, you do speak to Jacob’s successor.

Ben smiles with a slight nod to this. And Hurley admits:

HURLEY: I don’t feel like I am, though.

Ben says reassuringly:

BEN: It’ll take time, Hugo. Look how long it took Jacob.

Hurley then exclaims slightly:

HURLEY: I don’t want it to take that long!

Hurley sighs.

HURLEY: I wish I knew who to ask.

Diya then approaches the two, somewhat cautiously, wondering if she can, or should, help.

DIYA: Hurley… what is your objective here?

Hurley then looks to Ben. And they realize Diya may hold the answer they are looking for. In the next shot, Ben is digging through the dry bag, and he pulls out the paper he had drawn on two days ago, with the symbol of the face with a pointed hat.

BEN: We’re looking for a station with this logo. Do you know it?

We see in Diya’s eyes, an instant recognition.

DIYA: It’s called the Tin Man.

Before they can continue the conversation, they are interrupted as Walt then walks in with a musical tone of worry.

WALT: Hurley, I need to talk to you about something.

We see Walt’s worry flicker into Hurley’s expression also. In the next shot, the two are standing in a different room.

WALT: I think something’s up with John.

And we then see Jack standing near by, listening. He comes closer into view.

WALT: When I’ve talked to him, he sometime seems… different.

Hurley and Jack listen intently. Walt tries to think how to put this. The music is softly eerie, and vaguely resembling Locke’s mysterious motif.

WALT: Like, he’s darker. He’s standing.

Hurley and Jack register this. And Hurley recognizes this immediately.

HURLEY: You’re right, I’ve seen this too.

Hurley looks to Jack, and they wonder, could it be?

HURLEY: You think it could be him? The old smoke monster?

Jack shakes his head slightly, not sure if he buys this.

JACK: Why wouldn’t he just use his own face?

Hurley shrugs to this. As they are speaking, Diya approaches, having overheard Hurley and Walt.

DIYA: The man you are speaking of, he is a ghost?

Walt nods to her question. So she tries to offer an insight they may find useful:

DIYA: I have studied cases of ghosts with dissociative identity disorder.

WALT: What do you mean?

Diya states, with a tone of empathy in her voice:

DIYA: Some individuals have trauma so severe that their soul takes on two separate personalities.

HURLEY: So, what… Locke has a Gollum thing going on?

Walt then asks Diya:

WALT: Have you ever known someone like this?

Diya pauses for a moment, reflecting. We can see in her eyes a familiarity. She has indeed known of such a case as this. Though it is one she is not comfortable divulging.

DIYA: Only one.

She then quietly begins to turn away, as Walt and Hurley take this into consideration.

In the next shot, we are with Kate and Claire at the window, as they watch for Sawyer and Miles’ return. Kate has her pistol in her pocket, and Claire has her hands tight on her rifle. Claire looks noticeably unnerved, which Kate takes notice of. There are a few soft, dark beats of music here.

KATE: You okay, Claire?

Claire says smally:

CLAIRE: I’m fine.

Claire then nods her head indicative towards the window, and Kate looks. We see that Sawyer and Miles are returning. In the next shot, we see Sawyer and Miles emerging into the room, Kate and Claire waiting expectantly.

KATE: You find anything?

SAWYER: A couple of old traps hanging around for Smokey.

KATE: Speaking of Smokey -

She reaches back into a pocket and pulls up the old 1985 photo again, handing it to Sawyer, who takes it. The camera again highlights Theodor’s image on the photo and the 1985 date.

SAWYER: What are you sayin’?

Kate says what she thinks is becoming obvious:

KATE: I think it’s him.

SAWYER: Theodor is the Monster?

Kate nods.

After a couple of moments, everyone starts to naturally gather in the room again: Kate, Claire, Sawyer, Miles, Hurley, Ben, Walt, and Diya.

Diya then, facing towards Hurley and Ben, questions something of paramount importance to her:

DIYA: What do you intend to do when you reach this station?

BEN: Our plan was to neutralize this island.

This flashes a firm red flag for Diya.

DIYA: How were you planning to do that?

HURLEY: Well, we were kind of making that part up as we went along.

Diya shakes her head a little. But then, she says:

DIYA: I know where it is, but I’d like you to do something for me.

HURLEY: What?

In the next shot, we see Diya is reaching through drawers, the music softly building an anticipation, and she pulls out a tattered piece of paper. We can see between frames that the paper appears to have a map drawn on it. (Viewers who pause on certain frames may be able to make out the details of the map: it is rough sketch of Island 2, with each of its four islets pointed towards the middle gulf. There are lines drawn through the islets connecting through the canals separating them. The southwestmost islet is marked “SECTOR A” and in a different pen color and handwriting, it’s further titled “MONSTER ISLET”. The northwestmost islet is marked “SECTOR B”, and in a different color and handwriting, it’s titled “BATTLE ISLET”. In the northeastmost islet, it’s marked “SECTOR C” and in a writing titled “HABITATION ISLET”. And lastly, the southeastmost islet, “SECTOR D”, is titled “ARRIVAL ISLET”.)

Diya takes a pen and marks a line from Sector B into Sector C, which she circles. She then returns to the group, handing it out, and Hurley takes it.

DIYA: This is where the station is.

HURLEY: So what is it you want?

DIYA: I’d like you to come with me.

KATE: Why?

Diya says, with a faintly grim tone:

DIYA: I’m going to show you something.

And with the camera held on her, we wooooooooosh to:

Diya is now seated in a nice-looking room at a table. Seated across the table from her is Manvel Galen, though he looks somewhere between one or two decades younger than we’ve previously seen him in this season.

Galen compliments enthusiastically:

GALEN: Your breakthroughs in spirit and intelligence are marvelous.

Diya admits honestly:

DIYA: It’s not taken very seriously.

And Galen says, with some conviction:

GALEN: But we take it seriously.

Diya is almost impressed with their open-mindedness, though partially skeptical to their intentions.

DIYA: Why?

We hold on Galen’s enthusiastic expression for a moment, before Diya further adds:

DIYA: What could this be of interest to your company?

Galen responds:

GALEN: These are precisely the sorts of fields we prize our interest in.

We hold on Diya’s expression for a moment, her wonder at a corporation that would be interested in these pseudosciences.

DIYA: What would you have me do?

Galen smiles.

GALEN: We’ve funded a project called SAMSARA. We would like you to join on as one of our lead researchers.

Diya pauses for reflection on this large opportunity.

GALEN: It would allow you to take your work to thresholds you never dreamed possible.

Diya is very intrigued and tempted. And Galen offers the next piece of his pitch:

GALEN: And, we would provide enormous financial support. As I understand, your father in particular is dire-

She quickly cuts him off:

DIYA: No. … Nothing for my father.

We hear a soft, low beat. Galen smiles, and then corrects his offer:

GALEN: Certainly.

And Diya takes a moment of pause, before, in agreement to the offer, she asks:

DIYA: So, when would I leave?

And we have one final shot on Galen’s satisfied face.

[Commercial Break]

The camera is on the pale clearing between the ruined buildings. The group of Losties is slowly scattering about here. We see a shot on the map again as Sawyer holds it, examining it.

SAWYER: I’m gonna do a little recon, make sure the coast is clear.

The others look to Sawyer, not sure if this is the safest idea.

KATE: Be careful, James.

Sawyer nods. Then looking to Miles, he asks:

SAWYER: You comin’ with me, Tonto?

Miles looks uncertain as to whether he should go or not. Diya turns towards him.

DIYA: You should go with him.

MILES: Why?

She has a couple of thoughts on her mind:

DIYA: You have the gift of mediumship, correct?

Miles nods, not sure what she’s onto.

DIYA: For your own sake, you shouldn’t come.

She then says, with a very ominous musical note:

DIYA: There will be a lot of dead voices where we’re going.

Little flashes of horror wave across the others’ expressions. And then Miles thinks to ask:

MILES: Diya - did you know Pierre Chang?

DIYA: I did - but you won’t find him where we’re going.

MILES: Where is he?!

We see in Diya, almost a desire to tell him more - but ultimately she does not reply to him, preferring that he find his own answers. We hear a low, dark variation of Miles’ theme. Sawyer then calls out to him again, more softly:

SAWYER: Miles, come on.

Miles hesitates, and we see a little frustration for the cryptic answers he keeps receiving. And then turns, heading back towards Sawyer. Hurley walks up next to Diya.

HURLEY: Why are you taking us to a lot of, uh, dead voices?

Diya slows, and faces Hurley intently. And she says:

DIYA: I need to convince you of something.

We see a reaction shot on Hurley. And then with the camera held back on her, we wooooooooosh to:

Diya is in her office at the university, examining through her glasses at a computer screen. As she is working through some “paperwork” on there, we hear a knock on her door, someone faintly visible through its thin window.

DIYA: Come in.

The door opens, and we see coming, her father. He looks even more withered and grayed than last we saw him. Diya says nothing, but we see her eyes flash into a hurt - and then quickly into a defensive hostility.

Her father says, in his weary old voice:

PANKAJA: नमस्कार, दीया।/namaskaar, deeya. [Hello, Diya.]

She coldly does not answer him. He slowly takes a seat before her desk. We see a pain of regret and guilt in his eyes and his posture as he sits.

PANKAJA: काम कैसा है?/kaam kaisa hai? [How is work?]

She quickly cuts back:

DIYA: मेरी समझ यह थी कि आपको कोई दिलचस्पी नहीं थी।/meree samajh yah thee ki aapako koee dilachaspee nahin thee. [I was given to understand you were not interested.]

We see a shame in his eyes, one she might think is for her, though it is in fact a shame for himself. And he just saids straightforwardly:

PANKAJA: मुझे खेद है, दीया।/mujhe khed hai, deeya. [I’m sorry, Diya.]

He shakes his head slightly, for the attitude he had had for years in the past. We hear soft piano notes. He is now in acceptance:

PANKAJA: आपने जो रास्ता चुना उसमें आपने खूबसूरती से काम किया।/aapane jo raasta chuna usamen aapane khoobasooratee se kaam kiya. [You did beautifully in the path you chose.]

And he says, with some heartfelt pride:

PANKAJA: और आपने याद किया कि मैंने आपको आत्मा पर ध्यान केंद्रित करने के बारे में क्या सिखाया था।/aur aapane yaad kiya ki mainne aapako aatma par dhyaan kendrit karane ke baare mein kya sikhaaya tha. [And you remembered what I taught you about focusing on the spirit.]

However, we only see some resentment in Diya’s eyes, resentment at any thought now of having to credit any part of her life’s aspirations with this man.

PANKAJA: मेरे द्वारा कही गई भयानक बातें गलत थीं।/mere dvaara kahee gaee bhayaanak baaten galat theen. [I was wrong to say those horrible things. I was a drunken fool.]

DIYA: जो मैंने सुना है, उससे नहीं बदला है।/jo mainne suna hai, usase nahin badala hai. [From what I hear, that hasn’t changed.]

We see another shame hit the old man.

PANKAJA: दीया, मैं चाहता हूं कि हम फिर से एक परिवार बनें।/deeya, main chaahata hoon ki ham phir se ek parivaar banen. [Diya, I just want us to be a family again.]

And then we see a flare of suspicion in Diya’s eyes. The music beats darkly, and she just accuses coolly:

DIYA: और यह उस भारी ऋण के बारे में नहीं होगा जो आप में हैं?/aur yah us bhaaree rn ke baare mein nahin hoga jo aap mein hain? [And this wouldn’t be about the enormous debt you are in?]

The music sinks as we see her father again. He starts to shake his head, denying this, though we can’t help but wonder if this does indeed play a part in why he is trying to reconcile now. And she fires:

DIYA: आप अपने आप को जो कुछ भी मिला है, उसके लिए आप जिम्मेदार हैं और मैं जिम्मेदार नहीं हूँ/aap apane aap ko jo kuchh bhee mila hai, usake lie aap jimmedaar hain aur main jimmedaar nahin hoon [You’re responsible for what you got yourself into, not me.]

He desperately tries to assure her:

PANKAJA: दीया, मुझे बस अपनी बेटी वापस चाहिए।/deeya, mujhe bas apanee betee vaapas chaahie. [Diya, I just want my daughter back.]

She shakes her head.

DIYA: मेरे आगे एक नया जीवन है। और मैं आपको दोबारा नहीं देखना चाहता।/mere aage ek naya jeevan hai. aur main aapako dobaara nahin dekhana chaahata. [I have a new life ahead of me. And I don’t want to see you again.]

The music remains sunken. She turns off her computer, finished, getting up, as the old man just sits, a defeated desperation in his eyes. Before she leaves, she echoes one final remark:

DIYA: भयानक कर्म।/bhayaanak karm. [Terrible karma.]

And with that, she walks out, icily and self-assured, and the music reflecting it. She closes the door behind her, shutting her father out of her life for the last time. In the next shot, we see her with a mobile phone (it looks like an old one from around the late 90’s to 2000) to her ear.

And with an ambition and excitement driving her, she calmly says:

DIYA: Dr. Galen, it’s agreed. I’ll join SAMSARA.

And we wooooooooosh to:

Diya is leading the group through a clearing in grayish forested area, Hurley, Kate, Claire, Ben, and Walt following closely behind. They soon arrive upon a strange sight: a thin pit ahead in the ground, surrounded and decorated with lavish flora, more colorful than we usually see on this island, similar to that seen in Diya’s garden in the previous episode.

Diya halts to a stop before this spot:

DIYA: We’re here.

The other five follow and come to a halt, and with them, we see what lies in the floral pit:

A darkly familiar sight, a massive grave of rotting skeletons, some of them with octagonal logos on their suits. We hear a chilling piece of music (1:02 - 1:08). We see the dark, disgusted, and disturbed expressions of the other characters as we join them in observing this grisly sight. Though Diya’s expression is one more of a subdued lamentation.

HURLEY: What happened to them?

DIYA: They died in the war. After we created the… Monster, some stood with me, while others sided with Theodor.

She stares down into the pit still. There is dark, somber music softly beating.

DIYA: I gradually took them here and planted a memorial around their grave.

WALT: All of the ones on your side died?

Diya nods.

DIYA: Some of Theodor’s also. I buried them here too.

Hurley says, with some too-familiar disgust:

HURLEY: Why did you show us this?

And she explains calmly:

DIYA: I wanted to show you the consequences of conflict, so that you think carefully about what you do here on this island.

And we do indeed see reflection in the other characters’ expressions, especially Hurley’s, who is adverse to any conflict. And Diya turns, facing the group, and says, with conviction:

DIYA: I am protecting this island. I won’t allow you to harm it.

BEN: Why are you protecting it?

DIYA: Because it’s special.

And for Hurley, Ben, and Walt, this seems to click an understanding they can relate to. Ben remarks:

BEN: Ah, so you’re a woman of faith. … We respect that. We protect ours on faith, too.

Diya then cuts back a remark he’s not expecting to hear:

DIYA: Is that why you wiped out the DHARMA Initiative?

Ben is taken aback by this for a moment, not expecting her familiarity with its history. And he simply clarifies, in a soft tone:

BEN: I only helped the natives access the poison gas factory which DHARMA was already planning to use to murder them.

He then further adds:

BEN: And that’s ten years after they already violated the Island. Ten years of digging their own grave.

CLAIRE: Diya…

And Diya turns to Claire, not expecting a comment from her, as she has been quiet this whole time.

CLAIRE: Did the Monster kill these people?

Claire motions slightly towards the pit. We see a pain welling in Diya’s eyes as she nods.

CLAIRE: And did it… claim some of them?

Diya understands what Claire is saying. And she nods. We see Claire clutch at her rifle a little more tightly. The fear of a looming darkness returning. We also see a shot on Kate as she notices the subtle reaction in Claire’s body language.

We see a reaction shot on Kate. And stepping forward, she says:

KATE: Then we need to trap it.

And with that, there is a suspenseful note of music, as the camera holds on Diya’s expression, one of apprehension.

In the next shot, we are elsewhere on this islet. In the middle of another piece of forestry. Theodor is standing alone among the trees, pensive in his eyes.

As he is thinking, his bodyguard, Foster, steps up, saying in his gruff voice:

FOSTER: Theodor, our security force is here.

Theodor, pleased with this, nods.

THEODOR: Good. Tell them to be on standby.

Foster nods.

THEODOR: It’s time to get started.

And with a couple of suspenseful notes, we cut to black.

[Commercial Break]

With now see the first Island again. A distant, picturesque view of it, showing us the beautiful green mountains and the primal jungles.

In the next shot, we are following Desmond as he wanders through a jungle. It is lively, lush, and damp. Exotic birds and other creatures can be heard calling. The jungle evokes a sense of brightness and benevolence and power. There’s a sense that it’s ensouled. It still ever remains ancient and mystical in its atmosphere. Desmond watches the surroundings as he travels through, in wonder at its life force.

Soon, Desmond comes up to a familiar sight: a set of bamboo tables and equipment across a soily ground, with DHARMA food containers on them. And resting before these, a cabin of bamboo and wood.

In the midst of these things, we see Rose and Bernard Nadler seated in wooden chairs around a fire. Rose’s braided hair is more silvery now, while Bernard’s beard is more trimmed. We hear their theme.

Rose turns, seeing Desmond arrive, and smiles warmly.

ROSE: Hello, Desmond!

DESMOND: Hello, Rose, Bernard…

Bernard smiles.

BERNARD: Back on the Island again, huh?

Desmond smiles and nods.

ROSE: We heard you might be coming.

BERNARD: Why don’t you take a seat and join us?

And Desmond does so, relaxing into the chair. Vincent also walks into view over to Desmond warmly. He’s an old dog now, and yet something still makes him seem spry. Desmond reaches to scratch behind the dog’s ears, and he starts off the conversation:

DESMOND: How’ve you two been, the past ten years?

BERNARD: We’ve been doing just fine. Helping Hurley out around this island.

DESMOND: Aren’t you breaking your rule, ‘never get involved’?

ROSE: Well, it’s nothing too dramatic.

Bernard says half-humorously:

BERNARD: Besides, it’s better we live together, than being left alone to get eaten by a bear.

DESMOND: Do those polar bears still roam around here?

Rose shakes her head.

ROSE: Hurley and Walt made a reserve for them, out in the west side of the island.

Desmond nods.

ROSE: What about yourself?

DESMOND: I’ve been back home with my wife and son. They came with me here.

BERNARD: Oh, then why aren’t you with them?

And we pause for a moment on Desmond. We see there is something troubling him, something inside. And Rose and Bernard sense this. The music quiets.

ROSE: Is everything okay?

Desmond puts up a smile.

DESMOND: Yeah. They’re wonderful.

And with that second statement, we see that he really means it. He truly loves his wife and son, more than anything. And yet, there is something pulling at him.

ROSE: Then why are you out here?

Rose and Bernard, in their warm and loving nature, have managed to corner Desmond on the spot, and he knows it. He considers, for just a moment, lying to them. But ultimately, he remains honest:

DESMOND: I’m looking for something.

BERNARD: What are you looking for?

And for just a couple of fleeting seconds, we hear a soft variation of Desmond’s flash-sideways theme (1:44 - 1:48). Desmond pauses in reflection. And finally, he says:

DESMOND: Ten years ago, I had an… experience. And I went somewhere else. Another place of… bliss. Of love.

Rose and Bernard are listening on this.

BERNARD: So why are you here with us?

DESMOND: I don’t know… I just needed to tell someone.

Rose takes a moment, and then she imparts to him her wisdom:

ROSE: Look, Desmond. Take it from us. We’ve settled down and enjoy life.

This line starts with a few soft piano notes, before transitioning into a slow, soft variation of Desmond’s Theme. He listens, already expecting this is Rose’s way of “knocking” the sense back into him.

ROSE: People don’t find that often. So if you want love, bliss. Go back to your wife and son. Don’t be out here chasin’ a… fantasy.

Desmond takes this in, knowing she is right. And we see a couple of last shots of Rose and Bernard in their warm, caring expressions.

In the next shot, we see the outside of their house of temporary residence at the Barracks. Desmond’s theme is still playing softly. And in the next shot thereafter, we see Penny sitting at a nice table with Charlie, Aaron, Ji-Yeon, and Ji-Yeon’s grandmother, playing a board game of Forbidden Island. We see for a moment the worry, turmoil in Penny’s eyes for a quiet schism she has felt in her family.

We then hear a door close, and everyone turns their attention. Desmond steps down the hall, into view. And he takes a glance at his wife and son, knowing they are who he should be with.

PENNY: You’re back.

Desmond nods:

DESMOND: Yes.

And he says, in a tone that he intends to be reassuring:

DESMOND: I’m sorry. I’m here now.

Young Charlie says, in his British accent:

CHARLIE: Hey Dad, want to play? We just started.

Desmond smiles.

DESMOND: Aye, I’ll join you.

Desmond heads over to take a seat with them. The music quiets into a silence as we cut to the next shot:

With the sound of a low bong, we now see the second Island. It is the same view of it we saw before, the four dreary islets pointed to the gulf. We’ve now shifted the narrative back here.

The next shot we see is on Locke. He sits in his wheelchair, wearing his white shirt. He is in the middle of a clearing. He looks on for a moment, a sadness pressing upon him, a sadness driven by doubt.

As Locke is sitting, Jack suddenly emerges around him.

JACK: Hey, John.

John smiles.

LOCKE: Hello, Jack.

Jack puts up a smile, though we can see that he is trying to cover a concern.

JACK: Is everything alright?

LOCKE: Yeah, why wouldn’t it be?

Jack then decides to be frank:

JACK: Walt and Hugo have noticed that sometimes you appear to them, darker.

We hear a dark, eerie variation of Locke’s mystery motif. John looks up, almost rolling his eyes in a frustration.

LOCKE: I haven’t been doing that.

Jack nods. He believes that Locke believes this, though is not sure what to make of Hurley and Walt’s experiences.

In the distance, Hurley is watching Jack and Locke as they converse. In another shot, we see that Hurley is standing near the ring of sonic pylons, the same one that Sawyer and Miles spotted earlier in this episode, a small facility near by. Walt, Diya, Kate, Claire, and Ben are also here.

Diya happens to be standing near Hurley, so he turns and asks her:

HURLEY: So, your theory about a ghost have split personality. Is that like, a good one and an evil one?

Diya shakes her head.

DIYA: Not necessarily. It’s based on what the individual needs.

She explains:

DIYA: In the one account I know of, one side was the wounded one. More vulnerable, unstable.

As she explains this, Hurley watches on at Locke and Jack, who we see together in the distance ahead. We now hear the soft beats of Locke’s tragic theme.

DIYA: The other side was the stronger, more ambitious one.

Hurley keeps watching Locke and Jack. He feels that, if her theory is correct, this Locke he is observing must clearly be the softer of the two.

We then shift focus back to the others.

BEN: Alright, so it’s a plan.

We start to hear music build up quietly with anticipation. Kate turns to Diya.

KATE: Diya, you said that you created the Monster. How’d you do that?

Diya is a little taken aback by this question. And it’s a complicated one.

DIYA: Why do you ask?

KATE: Did you turn someone into the Monster?

Diya pauses in thought, struck by this unexpected question.

KATE: Theodor?

Diya looks hesitant to reveal the details. But, she nods quietly. Kate nods, her theory confirmed. And Diya then remarks on a separate note:

DIYA: I think only those with combat experience should be involved in this.

She turns to Walt, who realizes what she is about to propose.

DIYA: I should take Walt and Hurley away from here.

Kate nods:

KATE: Good idea.

We have a shot on Claire as she stands with Kate and Ben. Claire is holding her rifle tightly, now established as one of the combat-ready members of the group.

In the next shot, Diya, Walt, and Hurley are joining together. And we hold a frame on Diya, as we wooooooooosh to:

We now see Diya in her apartment, and it seems reasonably well-off, not too shabby. We see her seated on a sofa, with a couple of trunks already prepared for her departure.

Suddenly, her cell phone rings again. She answers it, holding it to her ear.

DIYA: नमस्ते?namaste? [Hello?]

We take a couple of moments as she listens on the phone. Her expression changes, from one of calm, to one of startlement. We hear a soft piano key.

DIYA: क्या वह ठीक हैं?/kya vah theek hain? [Is he alright?]

In the next shot, we are now entering into a dingy hospital room, Diya stepping through. Her two sisters are already in there, the one we have seen before, as well as the other we have just met (actress indeterminate), both with red dot bindis on their foreheads. We hear the soft, tragic keys of a piano.

The camera pans to show us, on the hospital bed, their father, lying unconscious. A heart rate monitor next to the bed slowly bleeps. The music growing more softly pained.

We see on Diya’s face, conflict suddenly brewing, her heart sunken at what she sees. This man she had resented so long, that she had cast out of her life. And yet, now here he lay, dying. Suddenly she can’t help but see the father who had raised her as a child, rather than the old man she had an embittered relationship with in her adult years. We see this turmoil burning in her eyes. She doesn’t know what to say now. And she knows there is a quiet hostility surrounding her in her sisters.

DAMINI: डॉक्टर ने कहा कि उसके पास ज्यादा समय नहीं है।/doktar ne kaha ki usake paas jyaada samay nahin hai. [The doctor said he doesn’t have much longer.]

We see the stab in Diya’s heart, as she gets closer to him, as he lay there, his eyes shut. Her sister continues, in a tone that restrains a bitterness:

DAMINI: वह बहुत ज्यादा कर्ज में था। उसने कीटनाशक का सेवन कर लिया।/vah bahut jyaada karj mein tha. usane keetanaashak ka sevan kar liya. [He was in too much debt. He consumed pesticide.]

It hits Diya even harder, knowing this was a suicidal gesture. And a burden of guilt suddenly starting to weight on her.

DAMINI: हमने उसकी मदद करने के लिए सब कुछ किया।/hamane usakee madad karane ke lie sab kuchh kiya. [We were doing all we could to help him.]

Diya halts at his bedside. Looking down at the old man, as he lay pitifully in his sleep. Damini then fires:

DAMINI: लेकिन उन्होंने जोर देकर कहा कि वह कभी भी आपका पैसा नहीं चाहते हैं। वह सिर्फ अपनी पहली बेटी को वापस चाहते थे।/lekin unhonne jor dekar kaha ki vah kabhee bhee aapaka paisa nahin chaahate hain. vah sirph apanee pahalee betee ko vaapas chaahate the. [But he insisted he never wanted your money. He just wanted his eldest daughter back.]

We see tears welling in Diya’s eyes. And there are also tears of anger in Damini’s eyes. And softer tears in Sahana’s eyes. And Damini fires:

DAMINI: वह वर्षों से इतना दुखी था कि आप चले गए थे। हमने उसे फिर से आपसे बात करने के लिए शर्म से बाहर कर दिया। और आपने अपने करियर की अधिक देखभाल की-/vah varshon se itana dukhee tha ki aap chale gae the. hamane use phir se aapase baat karane ke lie sharm se baahar kar diya. aur aapane apane kariyar kee adhik dekhabhaal kee- [He was so grieved for years that you were gone. We talked him out of his shame to speak to you again. And you cared more for your career-]

And Diya feels stabbed with each statement she makes. Sahana interrupts:

SAHANA: दामिनी, यह काफी है।/daaminee, yah kaaphee hai. [Damini, that’s enough.]

Diya feels the pain of guilt stabbing into her. The soft music has materialized into Diya’s Theme, and it is growing heavier. And at last, Diya places her hand on her father’s empty hand, and holds it.

And just as she holds his hand, the heart rate monitor begins to flatline in a screech. We see it sink in Diya’s heart as she realizes now, that he is going. He is going.

Her two sisters quickly get up, approaching, in tears.

SAHANA: पिताजी!/pitaajee! [Dad!]

And we see one last shot on Pankaja Mishra’s eyes as he lay dead, the monitor still screeching. And then one last shot on Diya’s eyes, thunderstruck.

And we wooooooooosh to:

We see Diya in some tears, as she is thinking back on this memory. The music quiet again.

She leads Walt and Hurley to an alcove of some dreary, gray trees. As they come to a stop, Diya begins to step away from them.

DIYA: You two stay here. I must go.

WALT: What?

DIYA: I created the Monster. They need me.

Walt looks very reluctant to agree to what she said. Although Hurley looks a bit more comfortable with it.

WALT: Diya…

She was starting to turn to leave, but she turns back to face him.

WALT: I think I need to be there. I think it’s my purpose to face it.

And we see that this is really important to Walt. We hear Walt’s Theme softly playing. This is the conclusion he has come to. Diya empathizes with his need for purpose. But she cannot agree to him coming along. She shakes her head and smiles smally.

DIYA: I don’t know.

She turns and starts to walk away.

HURLEY: Stick with me, dude.

Walt himself does not approve of this. But he thinks perhaps it’s wiser to see how things play out.

As the two stand together, they suddenly hear a voice from behind them, standing at the trees:

LOCKE: How’s it going?

And the two turn towards Locke --

And with a heavy piano note, we see it’s the dark Locke. Standing there in his black suit and tie. His eyes seem just as dark as what he wears.

Walt and Hurley stand there, just apprehensive.

HURLEY: Who are you?

Locke stands there, calmly but darkly. He already understands their apprehension. He looks from one to the other. We hear the dark variation of Locke’s mysterious motif, playing more loudly now.

LOCKE: I’m John Locke.

WALT: Then why doesn’t John remember talking to us in that suit?

Locke thinks for a couple of seconds to explain.

LOCKE: When I’m like that, I forget things. I need to, to survive.

He looks from one to the other.

LOCKE: But when I’m like this, I remember everything.

We look on Hurley and Walt’s expressions. This seems like it could be a convincing explanation. But there is always doubt.

LOCKE: The plan isn’t going to work. You should hand Diya over to them.

WALT: Why would we do that?

LOCKE: They can get us what we need in exchange.

Hurley holds his gaze, apprehensive still. He’s not about to trust any advice from Locke in this persona.

HURLEY: I need to know you’re really Locke.

Locke steps closer to Hurley and Walt. And he looks at them for a moment, and smiles. And with softer, but still dark, piano notes, Locke says:

LOCKE: All I’ve wanted is to lead on the Island. But I wasn’t able to do that, because of the first Monster.

With a few notes of suspense, Locke then declares:

LOCKE: So I’m going to help you trap this one.

There are a couple of more notes of suspense, as we see Hurley and Walt’s eyes, registering what Locke has said.

We cut to Theodor, standing in his dark clothes. Observing through the trees, he sees a clearing ahead: and Ben standing in the clearing. They’ve found them.

Theodor holds up a walkie, and speaks into it.

THEODOR: Tranquilizers ready.

We see a few shots of his troops, standing between the pale grayish trees, in their camouflage. They are readying up tranquilizer darts.

We take a few moments of suspense. And then, Theodor whispers into the walkie:

THEODOR: Fire.

And with that, we are on Ben as he stands in the clearing, watching Kate and Claire in his view ahead. And then suddenly, we hear something whizz past -- Ben looks down, and sees a missed tranquilizer on the ground next to his shoes.

His eyes turn struck with startlement, and he shouts:

BEN: THEY’RE HERE!

The music starts racing, and Ben rushes, Kate and Claire lifting their guns into action, as a barrage of tranquilizer darts starts firing in their direction. Adrenaline springing through them, Kate lifts her gun and begins to fire quickly on the trees. There is some hesitant from the forces there to fire back. Claire also fires her rifle a couple of times in that direction, and it recoils with each shot.

We see Ben barely making it to hide behind a tree as another dart just barely misses him, sticking into a trunk instead.

In the next shot, we are back in the perspective of Theodor’s men in the trees. We hear the sounds of the two women’s gunshots, and see a couple of his men swinging back dodging fire. Assessing the situation, Theodor quickly turns and walks away from the scene.

In the next shot, Kate and Claire are then rushing for cover as a dart or two flings past them. As they’re running, we then hear:

A roaring siren (0:53).

Kate and Claire keep running, until they get behind a clump of trees. We see a quick shot to the right ahead, the sonic pylons awaiting.

We then see a shot of the trees stirring and shaking from where the SAMSARA troops are residing. There are a few yells heard from within. The music getting more anxious.

KATE: ...have to lure it there.

Kate hurries out of the trees, as Claire stands on guard to cover her, holding the rifle from behind the trees. Kate comes out across the clearing, but before she can move further --

The wisp of silvery, light gray cloud starts to pour from the trees ahead. The Monster is quickly emerging. The music blaring.

We see Kate suddenly stop to a halt, horror-struck in her eyes. And in the next shot, the Monster stirs upward, and then lunges down in her direction.

Kate leaps out of the way, barely missing the assault, and she hurries. In the next shot, we see her hiding behind trees again, somewhere separate from Claire. She looks again, but the Monster is now vanished from sight. The music halted.

We then cut back to Hurley, Walt, and Locke’s dark image hurrying over towards the perimeter of lightposts we spotted with Sawyer and Miles earlier in the episode. They are moving quickly, the music beating fast with tension, though in a very short break from the blare of action it was a moment ago.

WALT: What are these?

Locke explains quickly as they move:

LOCKE: SAMSARA had intended their Monster to be a security system. They designed these lights to set parameters for where it could go.

They come to a halt at the lightposts.

LOCKE: The Monster can project a second form from a distance. [Looking to Walt]  Just like you can.

He waves his hand around the direction of the perimeter.

LOCKE: So you gotta make sure it gets in in smoke form.

WALT: Can’t it just project beyond the lights?

LOCKE: No, they were made to hinder that.

HURLEY: How do you know so much, man?

LOCKE: Because I’ve been talking to their medium.

With that, we quickly cut to Claire. In the chaos of the conflict, she is now separated from Kate, wandering around the rubble of remnants of buildings, trees.

As she is walking, some SAMSARA troops start to emerge from around the rubble, firing darts which barely miss her. She dodges, her mind very alert. Tense beats.

In a quiet, slow, eerie moment, the camera revolves around her, especially around her face. The music like an eerie, soft wind now. We see the fire, the darkness starting to sweep over her face. We see her gripping the rifle tightly. We sink in on her slowly for a few moments, the anxiety, the instability taking over… The sickness reemerging. And then --

Claire suddenly starts firing furiously, shooting bullets quickly, holding the rifle so tightly with such maddened strength that she resists against the recoil. A darkly anxious piece of music escalates into a blare.

Another troop attempts to take a swing around a piece of rubble to fire at her, but he’s abruptly shot dead before he knows what hits him.

Every time a troop emerges from around a tree or from a piece of rubble to fire, he gets shot instantly, in their legs, their shoulders. Claire is perfect in her shots. We see a few flashes of her darkened eyes. Her mind is in another place, a dark place.

Another troop runs across, but she fires at him mercilessly, and he falls to the ground with a yelp. She rushes over closer to him viciously. Bleeding, he calls out, his arms up:

TROOP: Wai-!

But she shoots him in the head before he can even finish.

Suddenly, another arm swings around, with gunfire nearly hitting her with a pistol shot, a tense beat. She swings and rolls out of the way.

Behind that block of bricks, we see the strong troop Garrow holding the pistol. And Theodor’s bodyguard, Foster, is with him. The music still blaring. He urges:

FOSTER: He said darts only!

Garrow barks back:

GARROW: She killed two of my men!

Foster rushes around, and is nearly hit by rifle fire from Claire. She then attempts to fire again, but she’s out. And he quickly swings his tranquilizer gun and fires.

In the next shot, we see the dart hitting her in the neck. And in her maddened glare, she quickly trembles and stumbles to the ground, as the music spirals downward with her into silence.

Our last shot is on her, unconscious, and we cut to black with a SMASH sound effect.

[Commercial Break]

In the next shot, we stand before a SAMSARA troop lying in a wooded area, either dead or unconscious. We see Diya stepping over to his body, listening as a voice speaks over his walkie-talkie:

TROOP ON WALKIE: Reyes and the black guy spotted near the perimeter! We need backup there immediately!

And with a low musical droning, we feel the worry overcome Diya. She knows she has to go back to help them. She turns to leave. And we wooooooooosh to:

We are in a relatively more calm setting. Diya is walking slowly down a shabby hospital hall, tears in her eyes still. And Sahana appears behind her shortly away. She also has tears in her eyes.

SAHANA: हमारे साथ अंतिम संस्कार के लिए आओ, दीया।/hamaare saath antim sanskaar ke lie aao, deeya. [Come with us to the funeral, Diya.]

Diya pauses, thinking on this. But she knows she will be blamed by many. And she won’t turn away from the path before her.

DIYA: मैंने अपना भविष्य पहले ही सेट कर लिया है।/mainne apana bhavishy pahale hee set kar liya hai. [I’ve already set my future.]

And Sahana replies:

SAHANA: दामिनी तुम्हारे बारे में सही थी।/daaminee tumhaare baare mein sahee thee. [Damini was right about you.]

Diya has no response to this.

SAHANA: आपको चीजों को सही सेट करने की आवश्यकता है।/aapako cheejon ko sahee set karane kee aavashyakata hai. [You need to set things right.]

Diya decides she doesn’t need to be lectured by her little sister. And she continues forward. And we see her sister again, speaking her final warning, one of sincere belief:

SAHANA: यदि आप नहीं करते हैं, तो यह प्रभावित करेगा कि आप अगले जन्म में क्या प्राणी बनेंगे।/yadi aap nahin karate hain, to yah prabhaavit karega ki aap agale janm mein kya praanee banenge. [If you do not, then it will affect what you will become in the next life.]

Diya continues faster, ignoring her. We hold the camera on Diya as she hurries on, her sister in the background. And we wooooooooosh back to:

We are the point of view of Diya’s creation, the Second Monster, seeing the terrain from its gaze. Dreary rubble and decaying grayish trees everywhere. The Monster’s point of view swerves, and we hear the sound of its electrical screeching. We see some of the wisps of its essence across the front of the screen.

In the next shot, we see Locke, his whiter side, sitting idly in his wheelchair in the clearing. As the sound of the Monster grows, he turns his gaze up to see it.

There it is, the silvery smoke monster fast approaching. We see a shot on Locke as he looks up towards it. His face is a stunned one. Stunned by a mix of grievance and yet desire. We’re reminded of the first time he saw the black smoke monster in “Walkabout”. The camera slowly growing closer to him as the Monster gets closer. The wisps of smoke are not seen on the camera in this shot, however, for this isn’t quite the Monster’s point of view.

Indeed, we then see Locke sitting alone, as the Monster suddenly brushes around him. It seems oblivious to his existence. The silvery light gray smoke flowing around him. Flashes of electrical sparks within it. And soon, it has completely brushed past him.

We see one last shot of him looking down, dejected. We hear a few notes of Locke’s tragic theme and mysterious motif.

In the next shot, we are on Theodor. He is at the sonic pylons now. He is slowly approaching them, walking through them. He looks up around them, thinking on their use. And then suddenly --

They turn on. There is a distinct hum of sound waves suddenly connecting between them all, surrounding him. He stands there in his dark clothes, surprised, as he listens around at them. He has been trapped. We hear a few notes of Theodor’s theme tensely playing throughout the following scene.

We then see Kate coming out from behind the small facility. She has her pistol held up. She has it pointing at him as she walks closer. But not too close to the sound waves.

Theodor, raising his hands, simply remarks:

THEODOR: I see our deal is off.

And Theodor sees the burning to shoot in her eyes.

THEODOR: Are you going to murder me, Kate?

And she just says confidently, knowing she’s caught him:

KATE: I think you’ll be fine.

Theodor is silent, puzzled by this.

KATE: Because you’re the Monster.

Theodor almost gives a dark smirk.

THEODOR: Oh, there are many kinds of monsters in this world. And I may be one of them.

But then he adds:

THEODOR: But not that kind of monster.

And she holds her gun pointed at him still.

THEODOR: You won’t shoot me.

And with a tense pause, Kate says:

KATE: You wanna bet?

And she quickly aims down and - BANG!!!

With a groan, we see Theodor collapse to the ground. We close in with Kate as she looks to see where he’s been shot --

And the music suddenly escalates with horror. There is blood everywhere, pouring out of a bullet wound in his left thigh. He clutches at it in one hand on the ground, groaning in pain.

We see a shock of horror on Kate’s eyes. She’s just shot a human being.

Theodor still looks controlled in his eyes, despite his injury. And through his groans, Theodor manages out:

THEODOR: Told you so.

And in the next shot, the camera is at the Monster’s point of view again. It screeches around, wisps of smoke waving across the camera, speeding over the islet.

And in the next shot, we see Walt standing in the midst of the lightposts. Ahead, the smoke monster is zipping into view. Walt calls out to it:

WALT: HEY!

And the Monster suddenly jerks to a halt in its trajectory. And it quickly turns in Walt’s direction. He just stands, tensely, as it hovers over close towards him.

And once it crosses into the perimeter of lightposts, they all suddenly spring to life, red flashes emitting from all of them. The Monster screeches in surprise to this.

Walt quickly leaps out of the perimeter of lightposts. They all flicker a red flash of light every few seconds.

We see Hurley stepping out from the small facility near by, and he laughs jubilantly:

HURLEY: It worked!

And we are behind Walt again as he watches the smoke monster, screeching horribly as it is trapped, circling itself within the perimeter of lightposts, slowly clustering its form together densely. It has nowhere to escape.

And we then see Walt’s face, as it lets out one last roar, and there is a bright, blinding flash of light. We see Walt turning and covering his face with his arm for a moment. And then he pulls his arm back, turning to look again.

And his expression is one of unspeakable shock at what he sees.

The camera turns from his expression, over to what is entrapped in the lightposts:

Diya, standing there in her dirtied white shirt. The camera closes in on her defeated expression. And a musical trombone escalates dramatically.

And with a quick cut and a thud --

L O S T

[End Credits]

Chapter Text

PREVIOUSLY, ON LOST...

[From 3.04 Every Man for Himself: Cassidy showing the photo of the baby to Sawyer in prison.]

CASSIDY: This is your daughter.

[From 5.11 Whatever Happened, Happened: Kate reuniting with an excited Cassidy.]

CASSIDY: What are you doing here?

KATE: Sawyer sent me.

[From 3.19 The Brig, a shot of Sawyer strangling a gurgling Anthony Cooper to death with a chain.]

[And then from 7.04 Samsara: a shot on Diya drawing a map]

DIYA: It’s called the Tin Man.

[A shot on Sawyer holding the map.]

SAWYER: I’m gonna do a little recon, make sure the coast is clear.

[Miles with the photo.]

MILES: Did you know Pierre Chang?

DIYA: You should go with him.

[A shot on Miles leaving with Sawyer.]

[And then on Hurley]

HURLEY: I don’t know what the Island wants.

HURLEY: I wish I knew who to ask.

[Then a shot of Hurley watching Jack and a wheelchaired Locke from the distance.]

[From 1.01 LA X, Sawyer crying as he cradles a dead Juliet to him]

[From 7.04 Samsara again, Theodor (with Foster) speaking to Sawyer and Miles (with Kate near)]

THEODOR: I’d like to offer you both to join us.

THEODOR: -we could- -use a veteran expertise to police a more peaceful era.

Episode 7.05: Hollowed Hearts

Our first shot is of a bright teal van driving across a crisp green lawn, slowing to a stop. We see the yellow houses of the Barracks in the background. And then a shot of the front of the van, a logo reading “DHARMA”. We hear the calls of birds in the background.

We then see that driving the van is none other than Sawyer. He is wearing eyeglasses. His hair is long in the back and short on the sides. He is wearing a beige jumpsuit, a logo on his left shoulder with a star, and on the left of his chest is written “LaFleur”, and below that “Head of Security”.

Sawyer turns to his right, and we see who is riding in the other seat with him: a young dark-haired boy, about age 11, who is wearing eyeglasses. We recognize that this must be a young Benjamin Linus. (The original child actor who plays young Ben is an adult now, so this must be a new actor with an impressionable resemblance.)

SAWYER: You need to go on home, Ben.

Ben’s expression is one of a quiet dread. He can read the kid’s emotions, and he lets out a small sigh. And he tries to reason:

SAWYER: Look, kid, you know you’re not gonna find your friend out in the woods. She ain’t on this island anymore.

We hear a few soft notes of Ben’s theme during this exchange.

BEN: I know.

SAWYER: Then what are you doin’ out there? Keep this up and you’re gonna get us all killed by the Hostiles.

These words aren’t of any comfort to young Ben, for he in fact, would rather be out there with the Hostiles than here at the compound. He sits silently. With a few soft notes, Sawyer tries to give some comforting advice:

SAWYER: Look, I know it ain’t the same when a girl you love is gone. Can feel like somethin’s missing.

Ben remains silent, feeling forced to listen to LaFleur, though not entirely appreciative of the pep talk.

SAWYER: But you gotta move on. I know it’s tough when your home life ain’t great. Mine wasn’t either. But you’ll make it.

And we take another quick pause on Ben as he listens for LaFleur to finish the pep talk.

SAWYER: Now go on, kid.

And so Ben unhappily opens the door and steps out, shutting it behind. Sawyer then turns his face back ahead to the windshield, ready to move the van back to the motor pool.

In the next shot, Sawyer is meeting up with Miles, who is also wearing a similar jumpsuit, on the walkway near the houses. Miles gives a nod, and says:

MILES: Good job finding the kid.

Sawyer nods back.

SAWYER: We’ll keep this under wraps.

As the two are standing, they turn their eyes towards a bit of yelling out across the lawn. We then see that it is a frustrated Dr. Pierre Chang walking with two other unnamed DHARMA members. We only catch a little bit of the fuss:

DR. CHANG: -if we’re going to solve that equation.

As Chang continues to bicker with the other two he is walking with about whatever project they are deliberating on, we then hold a camera shot on Miles for a moment, as he notices this man, his father. And with feelings of conflict and resentment - for this is a time before he learned why his father sent him and his mother away.

The camera is then back on Sawyer, as he turns to leave, and we then cut away.

In the next shot, Sawyer is inside his house, walking through. He’s now in more casual clothing. And he turns into the living room, and there we see waiting for him on the sofa -- Juliet Burke. We hear James and Juliet’s love theme softly playing.

And they share a smile as he takes a seat next to her, and then share a quick kiss.

SAWYER: Well, Ben’s home safe and sound, and the fence code has been reset. No one’s gotta know he got out.

Juliet then asks, but she already suspects what Sawyer’s answer might be:

JULIET: Why do you think he got out?

SAWYER: I think because his friend went home on the sub last month with her folks.

We then see that Sawyer’s statement touches on something on Juliet’s mind, something she doesn’t look entirely at peace about. And he notices.

SAWYER: What?

And she reveals what has been unresolved in her heart, the notes of music getting a touch more tragic:

JULIET: I always wanted to go home and see my sister again, and her son.

Sawyer takes this in. He doesn’t see any way of being able to do this right now. But he wishes he could do this one thing for Juliet, he knows how much it matters to her.

JULIET: What about your daughter?

Sawyer starts to shake his head a little with a slight shrug conveying an “I dunno”.

SAWYER: You think I could be a good daddy?

Juliet smiles warmly and confidently.

JULIET: You’d be a great daddy, James.

We see in Sawyer’s eyes that this touches him. That is the kind of compliment he would have never imagined receiving in his life. But it’s a testament to his growth, and a testament to how much Juliet has changed him for the better. And he says with a warm smile:

SAWYER: You’d be a great mom, too, Juliet.

She returns the smile.

SAWYER: Maybe some day, when we aren’t waiting on our people to come back.

Her eyes lower a little, not too optimistic of that prospect. And he, still facing her, assures her:

SAWYER: But if we ever do go back to our time, we’ll find your sister and nephew. I promise.

And the music begins to soften into a silence, as we see one last shot on Juliet as she lifts her eyes back to James lovingly, and then one more shot on James as he stares lovingly back. And we wooooooooosh to:

We now see a faded van driving, a “SAMSARA” logo on its front. An older Sawyer and Miles are riding in it. Sawyer is driving.

And we see a shot on Miles as he examines the old photo Kate had found in the previous episode, the “1985” photo: Dr. Pierre Chang being highlighted on it for us as Miles looks at the photo, wondering.

The two of them take a look around at the surroundings as Sawyer drives them through, following the map they have. The camera highlights an islet on the map: “Section C”, “HABITATION ISLET”, with a line drawn through it indicating a path.

We then see the surroundings as Sawyer and Miles drive through: signs of buildings all around, especially housing. With even fewer signs of vegetation, other than occasional patches of forestry here and there. The buildings look long-abandoned, some of them greatly deteriorated or in ruins. A low, ominous piece of music is playing.

We then cut to:

Kate watching from the trees, as we see in the distance ahead that a group from SAMSARA is at the sonic pylons, which are evidently turned off now. We can see an injured Theodor being picked up and moved by some of the men, his leg still bleeding badly. The music remains low but tense.

Near by are a couple of faded old vehicles waiting idly, one of them square with strips of red, perhaps indicative of some kind of ambulance. We see as Theodor is loaded into it.

We then see one last shot of Kate as she watches, before we cut to:

Hurley and Walt standing before the perimeter of flashing red lightposts encircling Diya. Walt has a subdued and distrusting expression. He watches Diya in the lightposts, saying nothing. We can see that he is still shaken by the revelation that she is the Monster, that he has been duped this whole time, and he is left more confused as to what he’s meant to do in all of this. The music still low but tense.

We also still see the defeat in Diya as well, as she has been trapped here, something she long avoided. And worse, she has been outed in her identity. And she simply stands quietly watching Walt and Hurley back, feeling hostility from them. So she is simply giving them time to take in this shock before trying to talk further.

Hurley is also quiet and wary of what this revelation could mean, though he is not taking this as darkly as Walt is, perhaps more optimistic. But we don’t see him dwell on this for long, before we see Jack and Locke near by. And Hurley looks to his left, seeing them there some feet away. So he goes over, approaching them:

Jack stands, looking calm, though we can see he is mentally making note of Diya in the lightposts. And Locke sits in his wheelchair, also noticing Diya. And they turn their attention to Hurley as he arrives to them.

HURLEY: Can I ask another favor from you guys? I know I’ve been askin’ a lot.

Jack nods.

JACK: Anything, Hugo.

HURLEY: Can you guys go check on Sawyer and Miles?

Hurley tilts his head a little in Diya’s direction, for the latest revelation now sparks an inevitable air of distrust.

HURLEY: She sent them to a Hatch. I just wanna be sure it’s okay.

Jack smiles affirmatively.

JACK: No problem.

We also see a shot on Locke, and he seems compliant also. And then a shot back on Hurley, thinking, as he knows he must take an opportunity to have a question answered for him before Locke can leave. Hurley is not confrontational, but rather burdened by something internal.

HURLEY: Locke. I need to ask you somethin’.

Locke halts. As does Jack. Locke expects this is going to be about what was mentioned before, that a darker Locke personality has been roaming with them. And he is none the wiser than any of them about what it means:

LOCKE: Look, I don’t know what you guys are talkin’ about, these conversations where I’m different-

HURLEY: That’s not what I’m here for, dude.

Locke looks surprised.

LOCKE: Then what is it?

And Hurley tells him frankly, and warmly and somewhat comically, and we hear some soft notes of Hurley’s Handouts theme (2:10):

HURLEY: Look, I don’t know who that creepy Locke is. I don’t know if it’s another smoke monster, or if you’ve gone psycho on us.

Locke is a slight flash of annoyed to the second option.

HURLEY: Or an alien. All I know is, I don’t trust him. But I do trust you, John.

Locke is touched emotionally by this. We hear a few notes of Locke’s softer emotional theme. We see a smile on Jack.

So Hurley then spells it right out:

HURLEY: I need to get in contact with the Island. For ten years I haven’t been able to figure it out. But I think you can help me.

Locke looks even more surprised by this. And a more mysterious Locke theme begins (1:19). And he says, somewhat weakly:

LOCKE: What makes you think I can help you?

HURLEY: Because you were the only one who believed in the Island. You knew how to follow it.

Locke looks skeptical, but also touched by Hurley’s appreciation for his faith. But he doesn’t know what to tell Hurley. He feels just as lost as Hurley is. And he tries to think.

LOCKE: Well…

He rests his hand on his cheek, thinking. Still doubtful. But trying to come up with something for Hurley.

LOCKE: You have to…

He hesitates, and stops. He shakes his head.

LOCKE: No, I don’t know anything.

Hurley urges:

HURLEY: Come on, man! Please.

Locke lets out a small sigh.

LOCKE: I’ll need to think about it.

And Hurley nods in relief that Locke will help him after all. Though Locke is clearly doubtful that he’ll come any closer to a solution later.

JACK: We better get going.

Hurley nods.

HURLEY: See you around, dudes.

And we see one last shot on Jack, and then Locke, as the two are ready to leave. And the screen cuts to black.

L O S T OPENING LOGO - it’s reversed

[Commercial Break]

We are on Sawyer. He is sitting at a table outside, the weather gray and dreary, a busy road in the background. On the table is a book he is thumbing through, though we can’t see yet what it is. We also see a white styrofoam box of food next to it.

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Kim Dickens, Jared Harris, Robin Weigert, 1 undetermined guest actor, 1 undetermined guest actress. Special Guest Star François Chau, Special Guest Star Elizabeth Mitchell. The rest of the credits also listed.]

A moment later, Miles sits down across from him with a box of food of his own.

MILES: New novel?

Sawyer nods, lying:

SAWYER: Somethin’ like that.

Sawyer closes the book and sets his box of food on top of it before we can make out what the book is. And the two get to eating, which we see for a moment or so.

As they’re eating, a police car speeds past in the road in the background, splashing a puddle of water, its siren sounding. On that note:

MILES: Still looking into law enforcement?

Sawyer shakes his head.

SAWYER: No point, with a criminal background. Will have to find some other way to stop the Hanso people.

Miles has nothing to add to this. And then he cuts to the next point:

MILES: Weren’t you going to meet your daughter today?

Sawyer nods, and then he looks at the watch on his wrist.

SAWYER: Lunch hour’s over, see you around.

He gets up from his seat, taking his box and book, leaving Miles behind who observes as he leaves.

In the next shot, sometime later, Sawyer is sitting idly in his car. There is some soft music lowly beating, something vaguely sentimental. In the seat next to him is a stuffed koala. Under the koala appears to be the open book he was looking at earlier.

He then sees Kate coming up to the window, so he presses a button to roll it down. She looks warm in her expression, but knows this will be a difficult milestone for Sawyer and other friends to achieve today:

KATE: You ready?

Sawyer nods and opens the door, taking the koala in hand, and stepping out and shutting it. Kate notices through the window: the book. We can now more clearly see that it’s a phonebook, with some names/numbers highlighted and others crossed through.

Kate then turns to Sawyer as he comes around in front of the car.

KATE: What’s that?

SAWYER: It’s nothin’.

She presses:

KATE: It looks like you’re looking for someone.

He doesn’t feel like addressing this topic, so he cuts it off with a lie:

SAWYER: I’m lookin’ for Sawyer, man who ruined my life.

Kate is taken aback by this, not sure what to think of him still pursuing this, and she slowly follows him towards the park in the background.

And in the park, we see Cassidy Phillips seated on a bench with her daughter, Clementine, who is about 6 years old.

Cassidy looks cautious, given this is the man who previously conned her and abandoned her and her daughter. But, she has her hostilities down, willing to give a chance to let her daughter get to know her real father. On the other hand, young Clementine, quietly looks a little more excited, blissfully ignorant of her parents’ past history together.

Sawyer approaches the two nervously, Kate alongside him as a sort of mediator. We can see conflict in Sawyer’s eyes, someone who wants to live his life right and responsibly now, but who doubts his capacity to be a father. The music softly, lowly reflects all of this history and conflict. And Sawyer just nervously greets Cassidy:

SAWYER: Hey Cassidy.

She returns a slight nod, and returns a greeting, first calling him by the name she knew him as, before correcting herself to his real name:

CASSIDY: Hello, Sawyer… James.

And Sawyer turns to Clementine next, putting up a warmer exterior for her, hoping to leave her with a likable first impression.

SAWYER: Hey Clementine!

And she returns, with a smile:

CLEMENTINE: Hi!

SAWYER: You like bears?

He says this as he is starting to hold up the stuffed koala in hand. And Clementine replies brightly:

CLEMENTINE: That’s a koala. They’re not actually bears.

Sawyer smiles:

SAWYER: Well, you’re really smart to know that!

And she reaches to take the koala, which he hands her. And Sawyer stands, not entirely sure what to say next in this situation. But Clementine already has her next remark in mind:

CLEMENTINE: So, you’re my real dad?

Sawyer nods.

SAWYER: Yeah, I am.

CLEMENTINE: Where’ve you been?

Sawyer shrugs a little, preferring to avoid mention of his criminal history.

SAWYER: Been busy with work. - And I got stuck on an island.

Clementine nods. And we also see a flash of remembrance in Cassidy’s eyes of Sawyer’s work. And we see a shot on Kate as she keeps holding up a positive demeanor, but one that’s sensitive to the difficulty of this situation.

SAWYER: How’ve things been at home?

CLEMENTINE: Things have been great! Me and Mom and Lane have been going kayaking.

She then quickly clarifies:

CLEMENTINE: That’s Mom’s boyfriend.

SAWYER: Ah.

Sawyer holds up a smile, and we see in his eyes as he registers this. We also see a quick shot on Cassidy. We realize now, Clementine already has another father figure in her life.

SAWYER: Sounds like a lot of fun!

And we see one last shot on Sawyer as he faces his daughter, before we wooooooooosh to:

We can see Sawyer through the window of the van, as he steers. We see as he and Miles look through the windshield to what’s up ahead, as the van is slowed to a stop: a wide, dark building, looking less ruinous than the others, surrounded by some dreary grayish forestry. There is a double-doored entrance, with an octagonal logo outlined across it: and with the symbol of the “Tin Man” head on it. We hear a low ominous beat of music.

We see one last shot on Sawyer and Miles through the windshield.

SAWYER: Here we are.

We then cut away from this scene, back over to the perimeter of red-flashing lightposts encircling Diya, Hurley and Walt standing outside them. We can see Walt is still silent, distrustful. The music still beating lowly with a quiet tension.

Diya finally attempts to break the ice:

DIYA: Walt, I know how this looks. But I’ve helped you for 3 days. You can trust me.

Walt shakes his head slightly, and finally speaks:

WALT: You went out of your way to lie.

DIYA: Aside from telling Kate that Theodor was the Monster, I have been truthful in everything I have said.

WALT: It’s not just what you said. You even made yourself appear in two places at once. I get it, I can do that too. But you lied to me.

DIYA: I couldn’t tell you who I was, as evidenced by the barrier between us now.

Walt shakes his head again, though has no real reply. He looks across the lightposts for a moment.

WALT: What are these even here for?

Diya looks across them.

DIYA: They told me this perimeter was a test site, but I think they were already planning to trap me here. That was before the war started. After it did, they set up the sonic pylons.

Walt remarks angrily:

WALT: I can see why.

Diya lets out a small huff of frustration. It doesn’t look like she’s going to be able to reason him back to her side any time soon.

As they are speaking, Kate and Ben suddenly appear on the scene, joining near Hurley.

KATE: Have you seen Claire?

Hurley shakes his head.

HURLEY: No.

Kate suddenly turns, noticing Diya in the lightposts. And she finally connects the truth:

KATE: It was you!

And she is angry, the music beating a little more tensely. She approaches the lighthouse perimeter more closely, accusingly in her glare at Diya. And Diya can only say:

DIYA: I’m sorry.

Kate then says, still angrily:

KATE: I shot an unarmed human being because of your lie.

Diya is quiet, with no reply to this. And we then cut to --

A bullet dropping into a bowl from surgical pliers, being held by one of Theodor’s men. We then see Theodor, laying on a bed in a small enclosed space - the ambulance. We can see the wound in his leg, still bleeding. The subordinate places a bandage cloth on the wound. Theodor’s chief of security, Foster is also present.

THEODOR: How many did we lose?

FOSTER: Two were killed, and several more took hits. We’ve extracted all the bullets, but we need to get everyone back home for better care.

THEODOR: How did they get so many shots on our troops?

Foster lifts his eyes over Theodor to indicate past him, and Theodor turns his head to look -- we now see that on another bed, Claire is lying unconscious, and we hear another ominous beat as we realize they’ve captured her.

We see one more shot on Theodor as he takes this in and what it could mean, before we cut back to --

The SAMSARA van sitting parked, Sawyer and Miles now standing outside it, as they approach what’s ahead. Sawyer’s rifle banded around him, and Miles’ hand at the pistol in his pocket. We see the two of them walk up some steps to the double doors of the Tin Man, and they press on through.

Inside, we emerge into a dark room, as the doors swing shut behind them. Sawyer flips a lightswitch, and lights along the ceiling illuminate. They are in a narrow passageway. They slowly, cautiously head onward into the dark depths of the station. Low, suspenseful music is whistling eerily.

Once they get to the end of the passageway, into the darkness of the next area, the lights illuminate as Sawyer reaches and flips another switch. Now they are in a room with tables and desks, scraps of paper and notebooks splayed across them. There are passages in the walls to other darkened areas.

And we see a ceiling camera up close to our frame of view. We then see, from the ceiling camera’s point of view, the visual of Sawyer and Miles stepping through. The ceiling camera seems to have a ‘tunnel vision’ with a slightly uneven framerate of the movement it observes.

We are then back in our normal lens of the two. Miles turns and takes notice of the doorframe of the passage they just stepped out of. And it looks like we can see a long slot along the top of the frame, as though for a blast door. Miles looks fleetingly curious, but moves on.

The two then notice a diagram of the station on a wall, which they head over to examine. We only get a momentary glimpse of the map: it appears the rooms are mostly concentrated further in the station. (Although you would need to pause the screen to take note of all of it, there seems to be an outer layer of mostly solid wall only connected by small shafts leading to objects marked “EM Generator”. There also seem to be various rooms labeled, including some noteworthy ones like a “TV Room”, “Computer Room”, “Transformation Pit” adjacent to “The Rabbit Hole”, and “EM Valve”, among some more basic living rooms.)

MILES: Well, let’s check the place for goons.

Sawyer gives a slight nod, and the two head on through the entry to another dark room.

We then see several shots of Sawyer and Miles separately, cautiously checking out various passages and rooms through the station, flipping lightswitches and illuminating the dark rooms. We make note of a few other ceiling cameras situated around the station at times, as well as some speakers also hanging from the ceiling. Some shots we are seeing from the point of view of a ceiling camera.

Low suspenseful music continuing to play. Though it seems to materialize into its own theme, one that is mysterious and suspenseful, and technical though yet somehow lively. We might call this the Tin Man theme.

Among the rooms we see as the two explore each, we make particular note of the following:

Miles illuminating a room with a television, a VCR/DVD player that looks to be from about 2000, furniture, and a table with a thin box on it.

Sawyer illuminating a room with some hardware and computer equipment from the early 2000’s, including a couple of actual computers and monitors, situated on desks, with a seat in front of them.

Miles illuminating a rather interesting room in the middle of the station, a rather large room with a slightly large, circular hole built out through the middle, some fencing around it, and other equipment scattered around.

Miles approaches the hole carefully and looks down, and we see inside, it slopes into polluted, bacterial water that hasn’t been maintained in a long time. We see confusion on his face, wondering what this was all for.

Sawyer illuminates another, more narrow room. And the music hits us with a scare! Sawyer jumps.

He sees that on the right side of the room, lying on a slab is a rotting skeletal corpse, dressed in a white coat.

And the music hits another flash of eeriness as he turns to his left to see yet another skeletal corpse, this one dressed in a darker coat.

Unsettled, he continues to the end of the room, where there seems to be a narrow channel of bacterial water. We can barely make out a large tunnel on one side of the wall under the water, and a grated hole on the other wall. And he quickly turns back out of this room.

In the next shot, we see as Jack and Locke (in wheelchair) have arrived. They are in the room with the tables and splayed papers.

JACK: I think this is it.

Locke nods. And he remarks with a sad nostalgia:

LOCKE: Reminds me of the old days in our hatch.

Jack nods thoughtfully.

Back to Sawyer and Miles, they reunite in one of the corridors.

SAWYER: Well we’ve checked everywhere. There’s nobody else here.

Miles nods, concurring.

MILES: So what is this station for?

Sawyer shrugs.

SAWYER: Something to do with neutralizing this island.

And with that remark --

The two are suddenly startled as a scratchy static (4:00 - 4:10) suddenly blares in the station. And a woman’s voice can be heard in it, though it is not the same voice from the Swan station, but somehow still familiar.

SPEAKER: Bottle Protocol commencing in 15, 14, 13...

The voice can be heard continuing to countdown as Sawyer speaks:

SAWYER: The hell is that?

Mile has no answer, and the two approach one of the locations of where the voice is coming from, a speaker from the ceiling which they look up to, hearing it more loudly and clearly now.

SPEAKER: 7, 6, 5...

We quickly cut back to an apprehensive Jack and Locke, the camera zooming in on the latter’s eyes, striking with reminiscence of a similar past experience.

SPEAKER: 2, 1...

And as our view is still close on Locke’s striking eyes, the station blacks out, the lights completely off and the screen dark, we are unable to see anything for a moment. And at the same time, we hear a ringing alarm (although it’s different from the one in the Swan) and the sound of doors sliding down in a thud (4:36 - 4:40). And then we hear another sound, the sound of a magnetic hum rising for a moment (similar to 5:54 - 5:58), and before we can process what we’re hearing, the humming is then calming down into silence.

And then, after a couple of seconds, a dim light turns on, just barely illuminating the room again with only a slight yellow shimmer. We can see Locke’s eyes still as they dart around, trying to process what is going on around them, Jack pacing a little near by him.

And in the next shot, Sawyer and Miles rush into the room, and they head over to the entry passage - except now it’s blocked off with a large slab like a blast door. We see the two halted at the barrier for a moment.

MILES: Let’s check the back door.

The two hurry out of the room, down a dimly-lit corridor. We remain with Jack and Locke in the room of tables.

Locke spins his wheelchair around to approach the barrier. And we can see that he intends to travel through it, but -

Frustration, confusion. Locke holds his hand up to his chin. We see another shot of the barrier, and then a shot Locke again in his confusion. For some reason, he is not traveling through.

And then we see Jack scanning along a table at the wall next to the barrier. There is a lamp slightly tilted against the wall now.

Jack heads to a bare space on the wall and starts to hold his hands against it -- and somehow, it seems solid. And he listens to the wall closely -- and we hear a low rushing hum of a magnet.

We are then back on Locke, as he faces the barrier. And we can hear that same magnetic hum softly through it. So Locke turns and faces Jack, and says:

LOCKE: I think we’re trapped.

In the next shot, we see Sawyer and Miles arriving at an identical-looking barrier on the other side of the station. It seems everyone is trapped in the station.

SAWYER: Son of a bitch.

We SMASH to black.

[Commercial Break]

Our shot is from the point of view of the ceiling camera, and it is in some kind of “night vision” mode now that makes Sawyer and Miles look green as they walk through a corridor.

In the next shot, we are back to the normal lens of our point of view as we see Sawyer and Miles continuing to walk through the dimly-lit corridor. A more dramatically eerie tune is playing.

SAWYER: And there’s no other way out?

And the two exchange, maybe half-sarcastically, half-sincerely:

MILES: Not unless you wanna try your luck dunking in the polluted water.

SAWYER: Last resort.

As they start to slow in their walk, Sawyer decides:

SAWYER: Let’s check out the computers.

In the next shot, Sawyer and Miles are entering into the computer room, the lights dim here as well. They reach over to turn some of the computers on, but only one of them in the middle turns on. So Sawyer sets his rifle aside and takes a seat as the computer is on a slow loading screen, Miles looking around the room for any clues.

There is a low piece of mysterious music playing, as we hold on Sawyer’s expression for a moment, the computer screen’s light shining on his face, and we wooooooooosh to:

A weary Sawyer is behind a bar, scrubbing it off, trying to get through another day in his trivial job. As the camera pans, we see it’s a restaurant bar, maybe some kind of steakhouse. Some kind of pop or rock music is playing in the restaurant.

As we see Sawyer continue to move glasses from the bar, we see the shadow of a figure coming to take a seat at the bar.

SAWYER: We’re out of the banana daiquiris.

SHADY GUY: That’s alright, I’m more an Old Fashioned guy.

Sawyer nods, reaching for a glass and starting to pour it from the bottle.

SHADY GUY: And I’d like a little chat, too.

SAWYER: ‘bout what?

The Shady Guy leans in closer as he takes his drink.

SHADY GUY: My friend tells me you’re looking to make your records go away.

Sawyer stops what he’s doing, attentive. Now he knows who this man is, someone he’s been expecting. He leans in closer, nodding.

SAWYER: Yeah.

The shady guy is quite amicable but there is a foreboding air about him.

SHADY GUY: I can make that happen. I hear you’re trying to get into law enforcement.

Sawyer nods.

SAWYER: I’ve been lookin’ into it.

The shady guy snorts a little.

SHADY GUY: Conning your way into the force. Genius. But, if you do that, I’ll expect help from a man of your position.

Sawyer pauses, reflecting on what he just said.

SHADY GUY: We can hash the details over later. You interested?

And we close in on Sawyer as he thinks his options through, a conflict in him, getting back into crime to get into law enforcement?

In the next shot, we see a nice pair of doors opening, and Sawyer coming through inside a building, along with Kate and a blonde girl - who we know must be Clementine - though now she looks to be about 14 (actress indeterminate).

And the three of them head through the lovely, fanciful house. Miles, his hair now thinning with age, comes to greet them.

CLEMENTINE: Hey Miles!

MILES: Hey Clam! Well, this is the pad.

She looks around, impressed with the house.

MILES: This really the first time you’ve been here? I could’ve sworn we had a shindig a few summers back.

CLEMENTINE: I was probably on a trip with Mom and Lane.

MILES: Well, you can chill wherever.

They head into a very comfortable-looking living room, and Clementine goes to take a seat, a large wide-screen TV facing them. And then the doorbell rings.

MILES: That’s probably the pizza.

As Miles leaves to answer the door, Kate takes Sawyer aside for a moment.

KATE: You were gone again.

SAWYER: I know, I know, I missed her soccer game.

KATE: Swimming.

Sawyer sighs.

KATE: Are you still looking for him?

Kate is concerned, but Sawyer ignores her and proceeds to go and take a seat back down next to Clementine.

We see a quick glimpse on the TV screen, The Wizard of Oz is on. (We start to see the Tin Man’s song for just a moment from “And yet I’m torn apart” {0:12}.) It continues to play in the background as the camera shifts focus back to Sawyer and Clementine on the sofa.

And she abruptly, casually remarks:

CLEMENTINE: You know, it’s okay. I know you’ve got your own life.

Sawyer looks a little embarrassed that that conversation was overheard. And we can see in his eyes, he knows, he knows that he has not been living up to the fatherly role he would have liked to have. And he is sensing that his final failure may be imminent.

And Clementine just smiles, understanding. And we see one last shot on Sawyer’s subdued eyes, before we wooooooooosh to:

The computer screen again, now appearing loaded. However, it looks like there are few icons to click on. We see the mouse arrow moving to click a ‘Recycle Bin’ tab, but it’s empty. He then moves the arrow up to the ‘X’ button and closes it. Back on the screen: there are notably two other tabs, a ‘Chess’ tab and a ‘Chat’ tab.

Suddenly, a chessboard appears on the screen, with Sawyer as white against black, and a prompt: “READY TO PLAY? YES / NO”. We see a shot on Sawyer’s surprised expression. A slight tone of mystique.

SAWYER: I didn’t open this.

Miles turns and looks curiously.

MILES: Play it, see what happens.

Sawyer sighs, raising his eyebrows, and clicks “YES”. On the screen, we then see him move his first pawn up. And then we see the computer’s pawn move down. We cut to --

Jack and Locke walking (and rolling) through the shadowy, dimly-lit corridor. We can see Jack holding his hand out along the right wall, feeling if he can move through. They come to a stop, and Jack looks up towards the ceiling. We can hear a low, subtle humming. We also see Locke staring down at the floor, and we hear a subtle hum to this as well.

JACK: It’s all around us. There’s no gettin’ out of here.

This seems so mystifying to the two of them, that a barrier could just exist stopping them, as something in the “living world” has never stopped them as ghosts before.

LOCKE: Maybe we should go see what James and Miles are trying.

We cut back to Sawyer and Miles in the shadowy computer room. Sawyer intently at the computer. We see a quick shot of another one of his pieces moving across the screen, with multiple pieces from both sides now across the board, some already taken.

MILES: You need to take that rook with the bishop.

SAWYER: Hey, I’m playin’ the game.

Miles shrugs:

MILES: Just tryin’ to help out, James.

Sawyer says with a tinge of annoyance as he clicks another piece in place:

SAWYER: That’s Jim to you.

Behind them, we see Jack and Locke each emerge into the dim room. The two living men take no notice of the two dead men.

SAWYER: Take note from the master. I’m about to finish this.

On the screen, we see Sawyer’s queen move into place two spaces from the computer’s king.

SAWYER: Comp’s screwed, now.

And on the screen, we then see, with a tone of surprising mystique: the king moves two places from its spot and kills Sawyer’s queen.

Sawyer furrows his brow in confusion. And we see Miles’ amused surprise also.

MILES: What just happened, chessmaster?

Sawyer says with some quiet outrage:

SAWYER: It cheated!

We then see a quick shot on Locke’s own face of surprise. He looks towards Jack, remarking:

LOCKE: A computer doesn’t know how to cheat.

A small shot on Jack’s reaction, before we see a shot on Sawyer again, as he is connecting something together in his mind:

SAWYER: I think I’m gettin’ conned.

MILES: Conned by a computer?

SAWYER: No -- whoever’s pretending to be a computer.

And we hear a low tone of suspense or mystique, as we see the chessboard on the screen. And then suddenly, something new pops up on it:

A chat screen, with words at the top reading:

INITIATOR: Hello, James.

The music elevates a little more mystically to this. We see quick shots on Miles’, Jack’s, and Locke’s facial reactions, before we conclude on Sawyer’s, one that is mystified for whoever this is.

[Commercial Break]

We’re on Sawyer’s expression: looking a little urgent, as he sits in the shadowy room. We see him type on the keyboard, and then appearing on the screen below the initiator’s message he received is his reply:

YOU: Who is this?

We see a few shots on Miles’, Jack’s, and Locke’s eyes as they observe the conversation unfolding. And next appearing on the screen:

INITIATOR: You wouldn’t believe me if I told you.

There is a slightly suspenseful, mysterious note to this. Sawyer’s expression is a little derisive to this evasion, but he decides not to press the issue and instead types the following, which we see on the screen:

YOU: How do you know my name?

And then a couple of seconds, before this suddenly appears:

INITIATOR: I overheard it. I can see you through the cameras.

To this, Sawyer looks a little struck. He and Miles turn and look behind, and we can see a camera hanging from the ceiling in the dimly-lit passage outside, aimed facing into the computer room. Low, suspenseful music still quietly playing.

Sawyer then types at the computer again:

YOU: Did you lock us in the station?

A couple of seconds, and then:

INITIATOR: I activated the Bottle Protocol.

Sawyer types:

YOU: What is that? What is this station for?

A second or so later:

INITIATOR: You can watch the orientation video to find out the station’s purpose.

Sawyer huffs a little in annoyance at the cryptic, unhelpful answers. Miles quips:

MILES: Well, while you’re chattin’ up your new pen pal, I’m gonna check the video.

Sawyer nods as Miles turns to leave, walking unnoticing between Jack and Locke out of the room. Jack and Locke decide to also start to turn to leave. Back on the screen, another message appears:

INITIATOR: The Bottle Protocol is a security prompt.

Sawyer types:

YOU: What for?

And then, a couple of seconds later:

INITIATOR: I overheard you reference neutralizing this island.

And we see a close up on Sawyer’s expression, as it dawns on him that he did say something along those lines earlier, the music elevating a little. And then the next message appears:

INITIATOR: I cannot allow that.

One more shot on Sawyer, before we cut to:

Miles arriving in the dimly-lit TV room. On the table in there is a thin box. It is labeled with a tab marked “Orientation”. He reaches to pick it up off the table. Opening it, we find there is a disc inside.

In the next shot, we see Miles reaching down to a VCR/DVD player, and he presses the open button on the DVD slot, causing it to extend its tray, which he drops the disc onto. He then presses the tray back in, and goes to take a seat on the sofa.

At that time, we see Jack and Locke emerging into the room.

On the TV: we begin to hear a tune that resembles the old orientation film motif, except this variation has a more sleek, “modern” quality to it. The screen is light, and dark words begin to appear on it:

     SAMSARA

       3 OF 3

 ORIENTATION

Which fades from the screen and is then replaced by the large octagonal symbol, with the the “Tin Man” head logo. Beneath the logo appears smaller words:

ORIENTATION - STATION 3 - THE TIN MAN

We then take note of Miles’ reaction to what appears on the screen:

Dr. Pierre Chang, though silvery-haired and wrinkled, he is clearly a good deal older than we last saw him in DHARMA times. Though as usual, he is wearing a white coat, his left arm stiff, prosthetic. He looks wearied by the years. The picture and audio quality of the video is very good.

DR. CHANG: Hello. I’m Dr. Marlon Chandler, and this is the orientation film for Station 3 of SAMSARA.

We also take a quick note of Jack and Locke as each of them watch the screen.

DR. CHANG: You are about to embark on what may prove to be our most remarkable work since the DHARMA Initiative.

The wearied Chang then proceeds onto the point, trying to keep up a warm demeanor, Giacchino’s musical score getting an air more mystical:

DR. CHANG: One of the greatest mysteries of mankind has been that of the soul.

Jack and Locke’s interest is more piqued.

DR. CHANG: And now, allow me to introduce the head of the Tin Man project, Professor Diya Mishra.

And he turns, and we see as Diya walks onto the screen, wearing eyeglasses and darker clothes. She is carrying an enthusiastic smile.

DIYA: Hello. Here at Tin Man, we will be exploring the potential and pushing the boundaries of parapsychology and computer intelligence, as well as testing the limits of the spiritual.

She continues:

DIYA: It is my hope that, through our studies, we will be able to create a consciousness.

We then see her standing in the large room we saw earlier, the one with the wide fenced hole in the floor behind her.

DIYA: As you are on this project, you will be at work on refining our electromagnetic chamber, through which we hope we can materialize this intelligence.

We then see a shot down the hole, the water looking more clear, with sparkles of electricity visible in it.

DIYA: In our experimentation, we have worked on a number of projects, including networking through electromagnetic conduits.

And then we see a shot of the computer room.

DIYA: Special insulation has been used to protect the more magnetically-sensitive equipment of the station. The results of your electromagnetic manipulation will be automatically detected and logged in the computers.

We then see another shot, this time of a structure marked “RABBIT HOLE”.

DIYA: And finally, our most ambitious yet esoteric project, what we refer to as the Rabbit Hole. A chamber influenced by research of the quantum vacuum. We hope that, under the right conditions, it may allow an observer to explore unimaginable possibilities.

We make a note on Jack and Locke again as they watch this film, processing the convoluted information being unloaded onto them.

Dr. Chang then reappears on the screen:

DR. CHANG: In closing, it is our hope here at SAMSARA that you may find the last discoveries needed to solve this equation:

And the screen shifts to an image of the Numbers: 4 8 15 16 23 42

We see a shot of puzzlement on Miles as he sees these numbers. We also show quick shots on Jack and Locke, who remember those numbers from the Swan computer.

And Dr. Chang adds somewhat urgently:

DR. CHANG: The more years go by, the less time we have, and it is paramount that we find the solution soon.

And he finally concludes dryly:

DR. CHANG: And on behalf of those of us at SAMSARA, namaste.

The screen transitions to a Hanso Foundation copyright for 2000.

One last shot on Miles as he takes this in, though not sure he learned anything relevant - his biggest takeaway was just seeing more of his father’s involvement. And Jack just smiles, looking to Locke, remarking:

JACK: Well, I think we’re gonna need to watch that again.

Locke barely breathes out a slight laugh, and just looks down again, feeling wearied by the years of his unfulfilled ventures into great mystery. Jack’s smile fades a little as well, noticing that Locke does not seem too enthusiastic.

We cut back to Sawyer, as he sits in the dimly-lit shadowy computer room. He hasn’t typed a further message yet. He is just sitting there, pensive on the past. And we wooooooooosh to:

It’s dark and gloomy as rain is pouring down on the windshield, wiped by the windshield wipers, as Sawyer drives his car. Clementine is riding in the back.

And then she abruptly asks:

CLEMENTINE: Is it true you’re a criminal?