Lost – Season 7, Episode 1: “Another”

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 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 I have no idea 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 woooooooooshing 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 woooooooooshing 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 woooooooooshing 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 woooooooooshing 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 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 woooooooooshing 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 woooooooooshing 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 care 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]

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