Lost – Season 7, Episode 2: “The Gifted”



[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.]






[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:




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:




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.




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.




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:








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:




                  7 OF 6



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:




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,




[End Credits]

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