Lost – Season 7, Episode 3: “Death’s Hand”

PREVIOUSLY, ON LOST…

 

[A clip from 2.09 What Kate Did of Kate riding her motorcycle away from Wayne’s house as it explodes.]

 

[Then from 1.22 Born to Run, Kate crying at her mother’s hospital bed as she lays in it.]

 

KATE: I’m so sorry for everything I have put you through.

 

[Clips from 6.14 The Candidate of Sawyer pulling the wires on the bomb, then the explosion in the submarine, and then Jin together with a trapped, crying Sun embracing as water floods the room in the submarine, with a bit of the Life and Death theme.]

 

JIN: I love you, Sun.

 

SUN: I love you.

 

[Then a clip of Jin and Sun’s hands separating underwater once they’ve drown.]

 

[Then a clip of Kate as Jack is stitching her shoulder in 6.16 What They Died For, with a bit of the Survivors’ theme.]

 

KATE: They had a little girl, you know. Her name was Ji-Yeon…

 

[Then from the same episode, Sawyer talking in the jungle.]

 

SAWYER: I killed them, didn’t I?

 

[A clip of Kate and Jack at the cliffside from 6.17 The End.]

 

JACK: Kate… you gotta go. –

 

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

 

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

 

[From 7.01 Another, with more ominous low music.]

 

GALEN: I am here representing the interests of the Hanso Foundation.

 

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

 

Galen looks warningly in his eyes.

 

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

 

Galen’s eyes shift towards Kate in particular.

 

GALEN: Especially for you, Miss Austen.

 

[And then from 7.02 The Gifted, we see the SAMSARA assailants crossing through the camp, as Kate, Sawyer, Claire, Ben, and Miles watch from hiding in bushes. And then a clip of Theodor as he stands in the night jungle.]

 

 

Episode 7.03: Death’s Hand

 

 

We are in a cemetery, vast with green grass and gray gravestones with a cloudy faintly dark sky, as Kate’s theme plays. We see Kate from behind ahead in the distance as she stands in the midst of the cemetery facing down at a grave.

 

We are then allowed to see the grave she is facing. It has a bit of a shine, and we can see Kate’s image reflected in it as she stares upon it. It reads “DIANE JANSSEN” and has dates marking about 1959 to 2007.

 

The camera is then directly on Kate’s expression, as she watches the grave. She looks a bit dark in her eyes, as though haunted by the years that have pursued her. She is held by something unresolved. We’re not sure if she is sad or relieved or a bit of both. The camera holds on her expression for a few moments, before we then see her turning and heading to leave. And we wooooooooosh away from the scene.

 

We are now on Kate tying her shoes in the midst of the dull grayish forest of Island 2, she looks reminiscent of the past. Sawyer, Claire, and Ben are near by. There is no music, only the environmental noises. Sawyer walks over to Kate.

 

SAWYER: I never did ask you.

 

Kate finishes tying her shoe and looks up at him, curious to his question.

 

SAWYER: What were you doing when you snuck out of Cali?

 

Kate considers avoiding the question. But after more than a decade of the survivors avoiding each other’s questions, she decides to just confess the truth.

 

KATE: Just sentimental things. …I went to see my mother’s grave.

 

SAWYER: You know, you could’ve gotten thrown in jail for leaving the state.

 

KATE: Since when did you become so interested in obeying the law?

 

Sawyer shrugs.

 

SAWYER: Why would you hold onto someone who threw you aside?

 

KATE: I just needed to make my peace.

 

Sawyer, thinking on his own history of paternal trouble, then asks:

 

SAWYER: What about your dad?

 

Kate faintly frowns and shakes her head, and with a tint of regret, just says:

 

KATE: I think after all my years of crime, he just started to see too much of my biological father in me.

 

Sawyer nods, with some empathy for her. But Kate then’s expression flashes more optimistically, and she nods in a direction.

 

KATE: But I have a real family to hold onto now…

 

We see the camera framed on Claire as she is in the background. We see Kate watching in the foreground.

 

KATE: They’re why I didn’t go to Iowa sooner.

 

We then see Sawyer’s expression again, as he looks a little saddened, thinking on his own family history. She turns back to face him.

 

KATE: What about you?

 

SAWYER: Not so much, me.

 

She looks saddened for him.

 

KATE: I’m sorry things didn’t work out with your daughter.

 

Sawyer gives a low shrug, thinking they just weren’t meant to. Then, Miles emerges back to the group.

 

MILES: I found another one.

 

Some lightly mysterious music plays. The group of five head ahead to see what it is Miles has found.

 

In the next shot, we see the five of them emerging out of the forest, out to a clearing, where the camera turns, revealing a bridge, like the one they passed in the previous episode, but this one is fully intact. It’s stretched out over a long channel of water to the next islet. There’s also a little operating booth that would have been for drawing up the bridge. The scenery looks a bit old and withered down from age.

 

BEN: Finally, we may find the station we’re looking for on the other side.

 

As the group starts to head forward, Sawyer waits behind. Kate notices, turning, and the rest of the group also slows.

 

KATE: James?

 

SAWYER: Y’all go on without me, I’ll catch up.

 

KATE: Where you goin’?

 

Sawyer lets out a sigh.

 

SAWYER: I’m goin’ to find Walt.

 

There is a soft beat of danger to his remark. They all look concerned, especially Kate. And Miles starts to step forward. But Sawyer holds his hand up –

 

SAWYER: No Miles, you stay and protect the crew while I’m gone.

 

Miles is halted and nods, starting to step back.

 

SAWYER: Besides, I thought you had something you were looking for?

 

Miles doesn’t answer. But we can see in his expression that he knows what Sawyer is talking about, there is something else in his heart. There is some uncertainty among the others about what Sawyer is referring to. But Kate simply brings the subject back to Sawyer’s decision:

 

KATE: You don’t need to be out there alone with that thing.

 

SAWYER: Neither does the kid.

 

Sawyer starts to turn to leave, but then makes one last comment, which he makes with a tone of regret, knowing Kate will understand his full meaning:

 

SAWYER: I’m not leavin’ kids behind anymore.

 

As Sawyer’s theme (1:48 – 2:02) starts to play, he keeps turning and heads back into the woods. Kate watches for a moment, considering going after him.

 

MILES: You gonna go after him?

 

She says decidedly:

 

KATE: No. …Are you?

 

MILES: Not this time.

 

The music quiets. Kate turns and walks next to Claire. Kate looks to the group.

 

KATE: Let’s go.

 

Claire smiles that Kate is staying with them, and Kate returns a smile. The four head on across the bridge.

 

In the next shot, we are back in the forest. Hurley, Walt, and Diya are together, though Hurley is sort of off on his own, sitting on a log with his hand on his chin, thinking on his own plans. As he is doing that, Jack suddenly appears walking over to him.

 

HURLEY: Hey, dude.

 

Jack nods greetingly back.

 

HURLEY: Got any ideas?

 

Jack shakes his head.

 

JACK: I think the others are close ahead.

 

Jack starts to turn to leave, but Hurley stops him –

 

HURLEY: Hey Jack.

 

Jack turns back to Hurley, who is holding a lot of well-meaning questions.

 

HURLEY: Why are you still here, man?

 

Jack simply smiles.

 

JACK: I’m here to help you any way I can, Hugo.

 

Hurley smiles.

 

HURLEY: Really dude? Nothing else?

 

Jack starts to look down in thought, and it’s clear there is something else troubling him. Hurley tries to make his best guess.

 

HURLEY: Is it… Kate? I could tell her, about you being here.

 

We can see in Jack’s eyes that he is considering this thoughtfully. But he gives no answer just yet. He just turns and heads on. We get another shot on Hurley as he watches Jack leave.

 

In the next shot, we are elsewhere in the forest. We start to hear music that’s a little more softly suspenseful or hauntingly eerie, as the half dozen or so SAMSARA “troops” from the night before gather, all in their green and gray camouflage, holding various guns. Except Theodor – who wears black. We recognize some of these men from a previous scene, notably two of them who were there when Hurley was captured.

 

THEODOR: Did you find any of the assets?

 

LEAD TROOP: No, but we did find a camp.

 

There is a suspenseful note. Theodor registers this in his mind.

 

LEAD TROOP: We’ll track their trail.

 

THEODOR: Carry on, Garrow.

 

The music beats heavier with haunting suspense as we see the group starting to head onward, with the camera especially emphasizing on Theodor’s pondering expression.

 

The screen goes black.

 

 

L O S T OPENING LOGO – it’s reversed

 

 

[Commercial Break]

 

 

It’s a slightly dreary day as we see Kate seated at a table among a fanciful outdoor setting at a restaurant, a few vacant seats at her table. We can read in her expression that she is clearly waiting on someone.

 

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

 

Kate then turns, and we see that Sawyer has arrived at the table. She smiles with pleasant surprise, as this was not who she really expected to see.

 

KATE: You came.

 

Sawyer smiles a little as he takes a seat next to her. Then she turns noticing Sawyer looking ahead in our direction. The camera is then on what they are looking at: it is not who we might expect to see.

 

It’s Sun’s Mother and a small toddler girl we know must be Ji Yeon. We hear a tragic, Asian-themed variation of the main Lost theme, not the usual Kwon theme but one we heard through their very first centric episode.

 

We can see the burden in Kate’s expression as she knows what she must say, and it seems to be especially gut-wrenching for her as she notices Ji Yeon is there. In Sawyer’s eyes are the weight of guilt and responsibility. We see a kindness but a dread in the face of Sun’s Mother. The tiny Ji Yeon does not understand what’s ahead of her. They arrive at the table to the awaiting Kate.

 

Sun’s Mother, speaks in English to our surprise, in her Korean accent:

 

SUN’S MOTHER: Hello.

 

KATE: Hello, Mrs. Paik.

 

(Although Korean women do not typically take their husband’s surname, Sun’s Mother nonetheless does not comment on Kate’s error.)

 

SAWYER: Good afternoon.

 

Sun’s Mother smiles kindly from Kate to Sawyer, though with a sadness. Ji-Yeon sits quietly.

 

KATE: I’m glad we can understand each other. I was worried I wouldn’t be able to explain-

 

Sun’s Mother nods.

 

SUN’S MOTHER: My daughter had been teaching my granddaughter English, with hopes that she might study here one day. And I was learning it with her.

 

There is a pause.

 

SUN’S MOTHER: You have a son?

 

Kate almost says yes, but she catches herself:

 

KATE: I have a nephew I raised as my son, until his mother could be with him.

 

Sun’s Mother smile and nods.

 

KATE: I remember Sun had hoped they would play together.

 

And Sun’s Mother nods, before finally stating, voice quivering:

 

SUN’S MOTHER: Miss Austen, you said on the phone that… my daughter has died.

 

Kate takes a moment to speak, as the moment silences in tension for a moment, and she finally breaks it out, as we see tears coming from her eyes.

 

KATE: Yes.

 

Kate tries to hold her composure. Sawyer looks down with a small frown. There is a sadness in Ji-Yeon’s eyes, as she seems to understand her mother is not coming back. The Life and Death theme, similar to the variation heard when Sun and Jin died, starts to play. Tears are starting to come from Sun’s Mother’s eyes also.

 

KATE: She went back to where our plane crashed, to find Jin. They drowned.

 

As she hears this information, Sun’s Mother sobs harder. She is in a pause as to what to say, before finally managing out:

 

SUN’S MOTHER: I do not understand. I thought Jin was dead.

 

Kate tearfully replies back:

 

KATE: She thought he might still be alive. And he was. I went with her — but I couldn’t stop —

 

Kate cuts herself off as she talks, Sun’s Mother listening taking this in, Ji Yeon still looking distressed, sensing something is wrong if not entirely understanding. Sawyer finally lifts his face up.

 

SAWYER: We were gonna make sure that Ji-Yeon is doing okay.

 

Sun’s Mother looks to her granddaughter for a moment through tears still.

 

SUN’S MOTHER: Ji-Yeon has been well, but missing her mother. She will be well raised by us.

 

The music starts to quiet. And then — someone unexpected appears —

 

GALEN: Oh, what a pleasant coincidence, catching you here, Madam.

 

And with a suspenseful musical note, Manvel Galen appears out of the blue over them, with his raspy voice, looking at Sun’s Mother. His demeanor is one of playing this off as a casual coincidence. But we can’t help but get a sense of something more stalkery to his presence. Sun’s Mother looks surprised, but Kate and Sawyer look especially apprehensive. And Ji Yeon looks uncomfortable.

 

SAWYER: What are you doing here?

 

GALEN: I was just attending a meeting here. — I’m sorry, I clearly interrupted something.

 

Galen seems almost apologetic, but we are uncertain as to his sincerity. He looks to Kate.

 

GALEN: And nice to meet you again, Miss Austen, Mr. Ford.

 

Kate and Sawyer hold their apprehensive gaze. Galen then looks down to Ji Yeon.

 

GALEN: And fancy meeting you again, Miss Kwon.

 

Ji-Yeon does not understand, but looks apprehensive. He then looks to Sun’s Mother.

 

GALEN: I shall look forward to the scheduled meeting with your granddaughter later this afternoon.

 

Galen smiles before casually wandering away. The tone of the music sounds a little more relieved but still foreboding.

 

KATE: How do you know that man? What does he want with Ji-Yeon?

 

SUN’S MOTHER: He is a business partner of my husband. We started having her… tested by their company. That is why we were here in Los Angeles.

 

KATE: That man is dangerous.

 

Sun’s Mother looks a bit surprised by what Kate has said.

 

SAWYER: Testing her for what?

 

SUN’S MOTHER: Dr. Galen thinks she may have a… He called it a special light.

 

Kate looks a bit stunned by this. Sawyer seems suspicious of this.

 

KATE: That man has threatened us before. You need to keep her safe.

 

SUN’S MOTHER: I do not think their company has much power to do anything against my husband’s company.

 

Kate looks very skeptical of this hopeful assertion. And she just says assuringly:

 

KATE: If you ever need any help, don’t hesitate to ask. We’ll always be there for Ji-Yeon.

 

Sawyer nods. Sun’s Mother smiles kindly, we see in her eyes that she is emotionally moved. Through tears, Sun’s Mother says:

 

SUN’S MOTHER: Thank you. But why do you help us?

 

And Kate says, with the utmost sincerity:

 

KATE: Sun was like family to us. And so we’d do everything we can to make sure her daughter is fine.

 

And Sawyer inputs:

 

SAWYER: Plus, I know what it’s like growing up without a momma and daddy.

 

There is a soft emotional beat of music, as Sun’s Mother starts to stand, taking Ji-Yeon by the hand.

 

SUN’S MOTHER: We must go. We have much on our schedule today.

 

Kate and Sawyer nod.

 

SUN’S MOTHER: Thank you so much for telling me.

 

KATE: Of course.

 

Kate pauses – and with a bit of a smile, she adds:

 

KATE: Mothers – and children – are very important.

 

Sun’s Mother simply gives a frank smile to this, before she turns. The camera holds one last time on Kate’s expression as she smiles somberly, before we wooooooooosh to:

 

 

We are back with Kate on Island 2, as she walks among the group of Claire, Miles, and Ben. The surroundings of the islet they have ventured into look similarly gray and lifeless as the last islet, except this one has less presence of vegetation, perhaps only half or less, much of the vegetation that is there looking dead and torn down. There are more open clearings, and power lines visible elongated through the air.

 

As we see a few quick glimpses of these visuals, the group of four then comes upon another sight: some ruinous buildings, no more than a half dozen or so, many of them destroyed, their foundations splayed out across the ground, with others looking very banged up or otherwise abandoned. They are in the middle of a clearing well removed from any of the vegetation on the islet. Some softly ominous music accompanies our first glimpse of this sight.

 

The group gets closer to investigate, soon being upon the rubble. Among the rubble is the partial corner of a black-and-white octagonal logo. Kate examines it, and then looks at the large, half-destroyed building ahead it seems to have derived from.

 

KATE: I think this is a station.

 

Ben nods.

 

BEN: This may be the one we’re looking for.

 

They travel into the building’s entrance room, as it is exposed, with its walls busted open wide, parts of its ceiling torn and crumbled on the floor, the room’s contents splayed out around. We get a sight of ruined tables, furniture, a shattered television, books and bookshelves, torn up and in pieces across the floor, damage on the walls and furniture, and some passages/doors to other rooms. The music remains ever ominous, as Kate, Ben, Claire, and Miles examine the destruction through the ruined building.

 

We take a few moments as Kate and Ben begin to look through junk in the room for clues, as Miles and Claire move ahead through a passage on the right side of the room. As Kate and Ben rummage through, we see Ben uncover what looks like the torn-off cover of a journal, with “STATION 2” written on it in pen and “THE LOCOMOTIVE” written underneath that. On the other hand, Kate unravels something that catches her interest. We see her pause before she picks it up examining it: a strip of some fabric that we don’t get a close view on yet.

 

In the next room ahead, Miles and Claire turn a lightswitch on, which thankfully still works illuminating the room, and they find a console panel with a couple of screens situated across, and a couple of old 90’s computers around the room, knocked over with tables and tangled up in their cords. There is another passage also, but it is blocked by collapsed rubble.

 

Claire starts to look through the broken computers, while Miles looks to the console panel. He examines switches on the panel, and they have different words labeled above each. One of them is labeled “COMMUNICATION”, situated before a microphone, and another “ACTIVATE”. He tries to flip it and other switches, and to no avail, as none of the screens turn on.

 

KATE: Miles…

 

Miles and Claire turn as they hear Kate coming into the room followed by Ben. Kate is holding the strip of fabric that we saw her find a few moments ago. She hands it to him, and he takes it, glancing down at it. And we see what is on it:

 

We see that it is a torn piece of film, with frames of Miles’ father Pierre Chang on it, looking more aged and silver-haired. We hear just a quick bit of Miles’ theme (1:52 – 2:00), and the camera holds on Miles’ expression for a moment, one of a skeptical hope.

 

BEN: Well, this isn’t the right station.

 

Ben is looking up at a wall. The others look to where Ben is looking — it’s the full station logo up on the wall above the consoles. Rather than the symbol Ben drew the previous day, the black silhouette is that of the side of a train engine with a bit of smoke billowing up from its chimney.

 

We see a flicker of disappointment in Ben’s expression as well as the others as they stand in the background. Kate then remarks:

 

KATE: Maybe we can fix these computers, get information on what we’re looking for.

 

The others nod in agreement, and the scene cuts to —

 

We are back on Hurley’s group – Hurley, Walt, and Diya – as they are in the grayish forest. Hurley heads through the trees a little to see Jack standing alone among them. We get a shot on Jack for a moment as he is pensive in some thought, something burdening him. And we see Hurley coming behind him in the background.

 

HURLEY: So… I’ve been wondering.

 

Jack, a little surprised, turns around to him.

 

JACK: Yeah?

 

Hurley asks frankly:

 

HURLEY: What’s it like dying?

 

We hear a soft variation of Jack’s theme (1:27 – 2:10) as we see in his eyes as he considers this for a moment.

 

JACK: It was peaceful.

 

A pause, but then Jack adds:

 

JACK: But, strangely, I don’t feel like I’ve really died yet.

 

HURLEY: You’re still holding on.

 

Jack nods.

 

HURLEY: Yeah, I kinda got that from you hanging around still for 10 years.

 

Jack starts to smile, almost into a laugh.

 

JACK: Are you trying to get rid of me?

 

Hurley smiles.

 

HURLEY: No, dude. I just wanna help you be happy.

 

Jack returns the smile, and pats Hurley on the shoulder, as the music softens to silence. Hurley, with a comic tone, then asks:

 

HURLEY: Are you waiting to get revenge?

 

JACK: What?

 

HURLEY: You know, like Patrick Swayze in Ghost, haunted the bad guys who killed him.

 

Jack shakes his head.

 

HURLEY: Speaking of, have you seen Patrick Swayze?

 

JACK: Who would I want revenge on?

 

HURLEY: You know… the guy who stabbed you. Locke. Except it wasn’t Locke. It was UnLocke.

 

Jack shakes his head again, and states amicably:

 

JACK: We already killed him. He’s been gone.

 

Jack starts to head back for where the others are, and Hurley follows.

 

In the next shot, we see them arriving back where Walt and Diya are. And as they do so, we hear the rustling of footsteps ahead through the woods. Hurley, Walt, Diya, and Jack all turn quickly to glance at what’s ahead.

 

It’s Sawyer, who steps through the trees.

 

HURLEY: Dude!

 

SAWYER: Hugo! … Walt!

 

We hear a quick bit of an optimistic variation of the Survivors’ theme (like the first 70 seconds but more softly quiet, less emphasized) as a stunned Sawyer goes and hugs his two smiling companions, though he has a flash of apprehension seeing Diya. We can also notice Jack in the back with a warm smile noticing his old friends reuniting, and in the next shot he is vanished.

 

WALT: Hey, James.

 

Sawyer smiles.

 

SAWYER: Hey yourself. How are you two holding up?

 

Hurley and Walt both smile with optimism.

 

WALT: Awesome.

 

SAWYER: How did you get away from that thing?

 

WALT: It dropped me, with her.

 

Walt turns in an introductory manner to Diya, who smiles in greeting, holding out a hand. Sawyer smiles back somewhat cautiously as he shakes her hand. The music starting to soften into silence.

 

WALT: She’s with us.

 

DIYA: It’s nice to meet you. I’m Diya.

 

SAWYER: I’m Jim.

 

Sawyer looks across the three of them.

 

SAWYER: We’ve gotta get back to the others. We can exchange stories on the way.

 

We then cut back to Kate, standing in the dimly-lit room of the unknown SAMSARA station they are in, Claire, Miles, and Ben rummaging through computer wires in the background. The camera holds on Kate’s face as she thinks on the past and those she’s been close to, and we wooooooooosh to:

 

 

We’re around the living areas in Kate’s house. We see there is some kind of “family get-together” as we see Kate, Sawyer, Miles, Claire, and a blonde boy about age 5 who we know must be Aaron, are all hanging about.

 

Sawyer is in the kitchen pressing the tab in a can of soft drink, as Kate is sorting a few plates into the sink.

 

SAWYER: What’d y’all do today?

 

KATE: Claire and I took Aaron to see Ji-Yeon.

 

Sawyer’s expression flickers down into a slight frown, while Kate, unnoticing, is smiling.

 

KATE: She’s an adorable little girl.

 

Kate lifts her eyes up to notice Sawyer’s expression.

 

SAWYER: How’s she doing?

 

KATE: She’s doing good. She’s very bright for her age.

 

Kate then pauses, before remarking:

 

KATE: You haven’t been to see Sun’s family again since we spoke to her mother.

 

Sawyer shakes his head a little, and just says softly but sadly:

 

SAWYER: They’re gone because of me.

 

Kate tries to think for a second to say something consoling, but then – the doorbell rings. They both look a little surprised, not expecting another guest. They head towards the living area, and Kate goes to answer the door.

 

She pulls it open, and we see Hurley at the door, in a business suit, a big smile on his face, as one who’s long waited to see his friends again. We then see the camera on Kate’s expression, stunned to see him. We hear a mix of a positive tone of the Survivors’ theme and Hurley’s sideways theme (0:40 – 1:10).

 

HURLEY: Hey, Kate!

 

KATE: Hurley!

 

Kate leans forward to give him a big hug, having not seen him for years, thinking him dead.

 

SAWYER: Hugo!

 

Sawyer bustles through also to give Hurley a big hug.

 

HURLEY: Hey man!

 

Once Sawyer releases him, Hurley steps through, and we see the delighted shock of Claire and Miles in the house.

 

HURLEY: How are you all doing?

 

CLAIRE: We’re doing great!

 

Hurley recalls that Claire seemed a bit deranged with feral-ness.

 

HURLEY: You’re looking great!

 

Claire smiles.

 

CLAIRE: Thanks, so are you!

 

Hurley also gives a smile to Aaron, who is a bit more blank in reaction, though faintly remembers him. Hurley then looks around them all with a smile. He’s glad to see they stuck together like a family.

 

MILES: Hugo, how did you get off that island? It was sinking when we left you.

 

HURLEY: We saved the Island! I’ve been looking after it the past few years.

 

The music quiets, and Kate connects what Hurley just said in her mind, a look of hopeful excitement in her eyes:

 

KATE: It worked? You guys saved the Island?

 

Hurley nods, smiling. Though his smile starts to flicker out a little as he realizes what Kate is on to.

 

KATE: Jack? … He …

 

Hurley’s smile is completely faded into a frown, as he begins to softly shake his head. A variation of Life and Death begins to play softly.

 

Kate pauses, understanding, as she softly nods. For just a moment – she had had hope. And now just the hurt and disappointment she dreaded. A few tears slip out of her eyes.

 

HURLEY: He saved the Island. And just before he did, he gave me the job of protecting it.

 

As Hurley speaks, we get a few shots of the other characters’ expressions. Understanding, but somber. None of them expected Jack to be alive, but it’s still sad to hear it confirmed at last.

 

SAWYER: So what are you doin’ now?

 

Hurley’s expression lifts a little with optimism.

 

HURLEY: Just tying up loose ends. Making sure everyone’s okay.

 

Hurley then turns to Kate.

 

HURLEY: By the way… Have you said anything to Jack’s mom?

 

Kate, holding in an expression of some regret, just shakes her head. We can see that this weighs heavily on her. The music softens into silence, and the screen cuts to black.

 

 

[Commercial Break]

 

 

We see Kate and Hurley walking up the steps to the front door of a nice-looking house. She has a look of dreading responsibility in her face as she rings the doorbell. Hurley’s expression is solemn but more laxed.

 

The door opens, and we see Jack’s mother Margo Shephard, looking expectantly of them. We hear some soft but sorrowful beats of music.

 

Kate and Hurley both put on a warm front as they smile in greeting to her.

 

KATE: Hi.

 

HURLEY: Hey.

 

MARGO: Hello.

 

Margo’s expression is a little cold. But she nonetheless invites them in, and we then see three of them taking seats in armchairs in a nice living area. And Margo finally breaks the ice on the long-troubling issue they are here to discuss:

 

MARGO: So where is my son? … I’ve called you for years asking where he is, and you always say you haven’t seen him.

 

Kate’s expression is one of regret and sorrow.

 

KATE: I didn’t know… Until last night.

 

Margo’s expression softens a little.

 

MARGO: Then tell me, please. His Granddad said that he was “going somewhere better”. What did that mean?

 

With the end of that question, we hear a soft touch (1:19 – 1:20) of the Island’s mystery theme. We then hear emotional music as Kate’s eyes well up with tears a little, and she turns to Hurley, and he speaks:

 

HURLEY: A few years ago, Jack asked us to go back where our plane crashed.

 

MARGO: Why?

 

KATE: We had to help everyone we left behind…

 

Kate takes a breath, and confesses, with the soft click of a high piano key:

 

KATE: Aaron wasn’t mine. He belonged to a friend of mine named Claire. And I found her and brought her back.

 

We can see in Margo’s eyes that her mind is racing with questions. The music remaining softly but subtle. Kate’s voice cracks as she then says:

 

KATE: Aaron is also Jack’s nephew. Claire was Christian’s daughter, from Australia.

 

Margo is in tears, processing all of this information in.

 

MARGO: I don’t understand.

 

Tears are going down Kate’s eyes. Hurley’s expression remains empathetic and somber for them.

 

MARGO: Where is Jack?

 

Hurley says softly, as we hear a variation of Jack’s theme:

 

HURLEY: He gave up his life, to save everyone else.

 

Margo is in heavier tears now, as is Kate.

 

HURLEY: I stayed behind to help Jack.

 

MARGO: If it was a few years ago… why didn’t you tell me?

 

There is a pause, as the camera slowly closes in on Kate, as she in tears, the music getting quieter for a moment. And she finally confesses:

 

KATE: I couldn’t accept he was gone. I was hoping he would come back.

 

The music gets heavier again, as we see another shot of Margo’s teary eyes, hurt but understanding. We then see a shot close back on Kate’s expression again, as she tries to smile through her tears, smiling for the man she knew. And we wooooooooosh to:

 

 

We are on Kate’s expression again, as she stands in the fragmented interior of the SAMSARA station. She is looking down, depressed in her memory. The camera holds on her for a moment.

 

Then we cut back to the computer room, as Miles rummages in a drawer under the panel of consoles and screens, connecting a plug to an outlet.

 

MILES: Alright, the moment of truth…

 

Miles gets up out of the drawer, and flips the “COMMUNICATION” switch. And in a moment, we see as the blank screen before him suddenly materializes an image: that of of the words “AWAITING CONNECTION” along with some kind of connectivity meter below it. We also notice some kind of little camera situated above this screen.

 

MILES: Hey, it’s working!

 

Ben comes over to see.

 

BEN: Good work, Miles.

 

Miles flips some other switches, to no avail.

 

MILES: It looks like this is the only one working.

 

Ben looks curiously at the “AWAITING CONNECTION” screen, an idea on his mind.

 

BEN: Wait a while and see what happens.

 

MILES: Sure.

 

Miles then looks to the “ACTIVATE” switch, and out of curiosity, flips it as well. One of the other screens then lights up, with an image reading “INPUT ACTIVATION KEY:” and a bar below it to enter text. And then we cut to:

 

Hurley’s gang – himself, Sawyer, Walt, and Diya, as they step off of the bridge, leaving one islet behind and heading onto the one with this station, although it’s nowhere in view. The four stand, looking around at the distance to get a sense of where the others may have headed off to.

 

As they are looking, Walt suddenly notices Locke, wearing his striped white shirt and seated in his wheelchair as it sits upon the ground. Walt notices Locke is examining the withered grass on the ground, and he steps closer to get a look at what Locke is looking at. We hear a soft variation of Locke’s hunting theme.

 

WALT: Do you see a trail?

 

Locke nods, an air of worry in his eyes.

 

LOCKE: There are around a dozen fresh prints.

 

He then points out across the faint footprints in the pale grass.

 

LOCKE: I think they’re being followed.

 

The music then turns to a suspenseful note, worry waving over Walt’s face. He turns back to the others, who are together talking.

 

WALT: Our people are being followed, you can see it in the prints.

 

The same worry then waves across Hurley and Sawyer’s expressions.

 

SAWYER: We need some plan.

 

Diya looks intent:

 

DIYA: I know a path we can take. We can circle around them and get a better position to surprise Theodor’s group.

 

Hurley looks uncomfortable with the prospect of an incoming fight.

 

HURLEY: Okay, but we’ve gotta work out the most peaceful plan of action on the way.

 

She nods amicably, and then proceeds to start on ahead, Hurley, Sawyer, and Walt beginning to follow behind. We then cut to:

 

Back in the station, Kate and Claire are clearing through the passage caved-in with rubble. In the computer room, we see the “AWAITING CONNECTION” screen for a moment longer. And then it changes to “CONNECTED” with the meter below looking full. And then an image pops onto the screen:

 

It’s Cindy Chandler, looking back towards the screen. She is in some kind of room, and there is some low mystifying music. Ben is not surprised, his suspicion confirmed, and he comes over to the screen, and leans forward to speak into the microphone:

 

BEN: Cindy, do you read me?

 

Cindy replies back:

 

CINDY: I read you loud and clear, Ben. The lookout you left in this station radioed me when this station received your signal.

 

Ben nods.

 

BEN: Did everyone arrive yet?

 

CINDY: Not yet, but I’ll get back to you as soon as they do.

 

Ben nods.

 

CINDY: Is everything going alright?

 

Ben thinks to himself that things haven’t gone at all as would be preferable.

 

BEN: We’ve run into problems.

 

We then cut to Kate and Claire as they’ve cleared through the passage, and this leads them to a staircase and passage further down to an exit door. They take the staircase.

 

Down there, they arrive at a wall with a long glass window, and door at the end. Claire goes and attempts to twist the handle to open it, but it’s locked, while Kate looks through the window. We see on the other side, what looks to be a pool of gleaming water. We hear a low magnetic humming. (5:47 – 5:57)

 

Kate gives a squint of confusion at the sight, but then turns and moves on, heading back for the stairs with Claire. We then cut to:

 

We are back with Diya, Hurley, Walt, and Sawyer as they walk through some pale woods, until they emerge out at a clearing, and we take a moment at the lively sight ahead: we see some kind of grove or garden, with trees and plants and flowers, more green and more colorful than we’ve seen elsewhere on Island 2, though still a touch pale. We can hear rustling streams of water also. We hear what sounds similar to the exploration theme (0:28 – 0:53), though it’s a rearrangement with some notes inverted.

 

The group of four examine the surroundings as they get here. Hurley looks around with a smile for the more lively sight, Sawyer and Walt more surprised. Diya looks around with a smile also, a pleased and peaceful smile – she loves this place, it conveys something special to her. The music remains lowly soft and aesthetic.

 

WALT: What’s this place?

 

DIYA: It’s my garden.

 

They continue to walk through, examining it. Diya goes to check on some of the colorful flowers blooming. She remarks:

 

DIYA: It’s a small step to bringing some life back to this island.

 

Walt nods with a smile. He then turns and notices Locke is appeared again, seated in his wheelchair. Locke is looking around at the environment, a smile on him also.

 

LOCKE: Lovely place.

 

Then after a moment, Walt thinks to ask him a question of curiosity.

 

WALT: When you leave – where do you go?

 

Locke looks up around, examining the environment.

 

LOCKE: I pretty much just go wherever I will myself to.

 

WALT: Do you like… float in that wheelchair?

 

Locke smiles into a soft laugh.

 

LOCKE: No, I just sort of…

 

He tries to think how to put it.

 

LOCKE: My mind – my perception – travels.

 

That brings another question of curiosity for Walt.

 

WALT: Can you sleep?

 

We can see in Locke’s eyes as he’s thoughtful of how to explain this.

 

LOCKE: Sometimes when I stop… looking around, I dream again.

 

Walt nods with a smile.

 

WALT: Why stay among the living?

 

LOCKE: Well… it lets me help you out.

 

WALT: So, what, you’re like Bruce Willis in The Sixth Sense?

 

Locke smiles still.

 

LOCKE: Somethin’ like that.

 

Walt starts to turn, but he halts, something on his mind, though not sure if it’s right to ask it. But he finally does. And we see Locke listen as Walt slowly asks:

 

WALT: John… How do you feel about your death?

 

The question takes Locke by surprise. The music turns for a few soft seconds to Locke’s tragic theme (0:08 – 0:24). And we can see in his face that it recalls pain and confusion, that he can’t put into words yet. Walt begins to regret asking.

 

And then Locke says, on a different note, maybe to change the subject:

 

LOCKE: I think I can track our people.

 

Walt nods.

 

LOCKE: I’ll be back.

 

WALT: Thanks, Mr. Locke.

 

And in the next shot – Locke is gone. We see Walt looking on, a thought of sympathy for John. And then we cut to:

 

Ben standing in the dark passage leading to the exit door, and we can see in his eyes that there is something heavy pressing on his mind. The music silent. Claire and Kate are also near by.

 

CLAIRE: I’ll go check out here.

 

Claire presses the exit door open, the sunlight gleaming into the passage as she heads outside and the doors closes back. Kate starts to follow, but –

 

BEN: Kate – if you don’t mind me asking –

 

Kate turns her attention to him.

 

BEN: Why did you kill your stepfather?

 

Kate is taken aback by this question.

 

KATE: Why do you need to know that?

 

Ben says in a casual tone (though we can see in his eyes that something is troubling him):

 

BEN: Murder has been on my mind.

 

Kate raises her eyebrows, but then just states:

 

KATE: He was abusive.

 

We see Kate’s memory reflecting in her eyes. And she further confesses:

 

KATE: And I found out he was my real father.

 

There is some empathy in Ben’s eyes. We hear a soft segment of Kate’s theme (1:43 – 2:01) playing.

 

BEN: I’m sorry to hear that.

 

Ben then confesses, with a dark note of music:

 

BEN: I killed my father too. He was like yours.

 

We then see Kate is hit with a surprise and sadness of realization.

 

BEN: Do you consider yourself… innocent?

 

KATE: I did… until I got a friend killed.

 

There is a soft note to Kate’s remark, remembering her friend Tom Brennan, and Ben nods.

 

She pauses with hesitation, wondering to herself if she should reveal something to Ben. And after a moment, she finally decides to:

 

KATE: Ben… I knew your father.

 

The camera holds on Ben’s face for a moment as we see him visibly stricken with a fleeting confusion.

 

KATE: When I was in DHARMA.

 

And she tries to tell him, for whatever comfort it may bring:

 

KATE: He regretted how he had treated you.

 

This hits Ben with a shock. And we start to hear a soft variation of Ben’s theme. Kate then goes on to add:

 

KATE: He was desperate to save your life when you got shot.

 

Ben just looks down in silent thought, struck deeply by this. Kate reads him, with some empathy reciprocated back to him. Then she turns to leave, starting to press open the exit door, as the light shines in again, Ben’s theme still playing. But before she leaves, Ben asks her one last thing:

 

BEN: You made a pretty good run over the years. How did you get caught by that Marshal?

 

Kate starts to think back on it, remembering the farmer Ray Mullen, a positive sentiment swamped in misfortune, and a reflection of choices in her life:

 

KATE: I was saving someone’s life.

 

She heads out the door, and we see one last frame on Ben’s profile as he thinks deeply on something, and his music fades out.

 

In the next shot, we see Kate stepping outside at the back of the station, and she looks around to see where Claire is. She notices, with us, that across the pale grass are two faded white lines. She doesn’t give it any thought, and starts to head on, turning around the corner of the station, calling for –

 

KATE: Claire?

 

And she turns around the corner and finds —

 

With a heartdropping dun, we see Claire is holding her hands over her head in surrender — a camouflaged assailant standing behind her with a rifle aimed at her.

 

We get one last quick close in on Kate as her eyes widen with adrenaline, and Giacchino’s music escalates into a sudden shriek of terror. And the screen cuts to black.

 

 

[Commercial Break]

 

 

We are back on a frame of Kate as she stands tensely, watching ahead as the assailant holds his rifle at Claire’s back, the music beating each moment with tension.

 

And then he speaks:

 

ASSAILANT: Follow me to the front of the station, and no one will be harmed.

 

Claire stands tensely watching Kate.

 

ASSAILANT: Come closer.

 

Kate slowly nods, and slowly, cautiously, begins to head forth closer to the range of the assailant.

 

The assailant stands, watching closely, as Kate gets nearer. He slowly starts to shift the barrel of the rifle away from Claire to a middle range between the two women, before —

 

The music suddenly blares with beats as Kate lunges against the assailant, slamming into the left side of him, as he quickly struggles and tries to reposition his aim for Claire, but it’s too late as Claire suddenly spins grabbing for his rifle and yanking it from his reach as he struggles against Kate.

 

Claire then swings the butt of the rifle against the chest of the assailant, knocking him back with a painful oof!, and he uses the momentum of the knock to quickly turn around into a dash, as Kate pulls her pistol out of her pocket while Claire swings her rifle around the right way, and with a roaring gunshot Kate fires at the assailant but barely misses, as he runs to hide through a clump of trees.

 

The music blares less but remains anxious as Kate turns to head back for the back of the station, Claire following her lead. We then see a few shots of the two women quickly running around back to the exit door, pulling it open and entering the building as it closes shut behind them, Miles and Ben hurrying urgently down the passage to them, Miles’s gun out. The beats of music a bit softer but still anxious inside.

 

MILES: What happened?

 

And Kate says urgently:

 

KATE: We’ve got company!

 

Miles looks alert, Ben calculating, and Claire with a flash of darkness in her eyes.

 

KATE: I’m scouting the front, cover me!

 

And Kate heads forth, followed by the rest, as we wooooooooosh to:

 

 

We are back in Kate’s house, as we see a now 12-year-old blonde boy, Aaron, (actor indeterminate) at the kitchen table, writing down on some homework, as Claire cooks something on the stove. We follow Kate as she enters. Kate looks concerned for the boy.

 

KATE: How was school today?

 

Aaron pauses, and with a strange pause, he turns his face with a cold look, and just says in a low tone:

 

AARON: It was okay.

 

Suddenly, we hear a cellphone’s ringtone. Kate pulls it out of her pocket and answers:

 

KATE: Hey!

 

We hear Sun’s Mother speaking on the other side, in what we can faintly make out as a worried-sticken tone:

 

SUN’S MOTHER: Kate, I need your help!

 

We see concern wave over Kate’s expression immediately.

 

KATE: What’s wrong?

 

In the next frame, we see Sun’s Mother on the phone, looking more silvery and wrinkled with the time since we last saw her. She has an almost panic in her face, almost in tears. She is standing out near a building somewhere, her spare arm around a young nearly-12-year-old Asian girl, Ji-Yeon, (actress indeterminate) who is sitting still and dignified but we can clearly see the terror she conceals in her eyes.

 

SUN’S MOTHER: Men tried to take Ji-Yeon today. I barely got her…

 

In the next frame, we are back on Kate’s startled eyes.

 

KATE: Are the police there?

 

SUN’S MOTHER: They threatened the police on us for my husband’s dishonest dealings with them.

 

KATE: Who are they?

 

In the next frame, we see Sun’s mother again:

 

SUN’S MOTHER: It was Dr. Galen and his men.

 

In the next frame, we are back on Kate as her eyes turn dark, with a haunting musical note.

 

KATE: Where are you now?

 

We can hear Sun’s mother say something over the phone.

 

KATE: I’m on my way!

 

Kate hangs up the phone, and we get a shot of Claire’s worry, and a blank look from Aaron.

 

KATE: Meet up at James’s.

 

Kate turns, lifting up the phone again to her ear. The music beating with urgence.

 

KATE: James, we need you.

 

In the next shot, we see Ji-Yeon and Sun’s Mother sitting in the backseat of a car, and then we hear a front door closing – the next frame is on Sawyer, more gray-haired as he is in the present day – as he turns back to look at them, and facing a guilt he has avoided these years.

 

SAWYER: Don’t worry, I’m gonna take care of you both.

 

Sun’s mother is silent but nods slightly with a thankful smile. And Ji-Yeon says quietly:

 

JI-YEON: Thank you.

 

Sawyer thinks for a moment on her, this girl thanking him, whose parents whose deaths he feels responsible for. Sawyer turns his head back to an open window, and we’re then on Kate as she stands outside looking in.

 

KATE: I’ll be back soon.

 

SAWYER: Where you going?

 

We then see Kate’s hand hold against her pocket – the handle of a pistol clearly inside. The music raising softly with a worry, and we see in Kate’s face that she knows he will not approve – and he certainly exchanges a glance that suggests “What are you getting yourself into?”

 

KATE: I’ve got some business to take care of.

 

And with a small sigh, she turns and we see her walking away from the car, leaving it in the background, as she heads to the foreground with severe apprehension for what awaits, the music waving lowly with suspense, and we wooooooooosh away to:

 

 

The camera is on the front of Hurley, Sawyer, Diya, and Walt in the back, crossing through pale grayish woods again.

 

SAWYER: So Hugo, what did you do while captive?

 

HURLEY: I tried to negotiate a peace deal, with their leader, Theodor. That was Plan A.

 

We see in Diya’s face a pessimism.

 

DIYA: I’ve never known Theodor to be one for peace.

 

Hurley halts, the others halting behind him. The camera then cuts to who is standing before Hurley – Jack. He looks uneasy.

 

JACK: Our people are surrounded.

 

We are then on Hurley again, as we see this hit him, the others behind him blind to Jack, and Walt off behind where he couldn’t see him. We hear a few soft notes of suspense.

 

SAWYER: Why are we stoppin’?

 

We get one last look on Jack, and then back to Hurley.

 

HURLEY: No reason.

 

The camera is now on Walt in the back. We notice with him as he sees, standing in the trees –

 

Locke again. But this time, he is standing. Walt approaches him. Locke is wearing his dark burial clothes now. The music is a variation of Locke’s theme, sounding a little softly haunting, like this (approx 0:39 – 0:49).

 

WALT: John? What is it?

 

We see Locke stare at Walt, as he seems to carry an intensity, perhaps of anger or conviction, in his eyes. But he just says calmly:

 

LOCKE: You asked before, what I think of my death.

 

We then see Walt’s face again, a visible uncertainty about what Locke is going to say. And then we are back on Locke’s intense but stoic expression again, as he drops:

 

LOCKE: I think the one who killed me needs consequences.

 

We then see Walt’s expression, stunned, as the music escalates and the scene cuts to:

 

We are now back on Kate and Ben’s apprehensive faces in the forefront of the frame as they head through the station, Miles and Claire just behind them.

 

We then see a wider shot of the four of them as Kate leads the group through, a few tense moments as she heads out to the ruinous front opening of the station, the music beating heavier with tension again.

 

Kate holds her pistol aimed, shifting slowly left and right, ever watchful of the surroundings. Miles holds his pistol and Claire holds her rifle tightly.

 

The music begins to escalate increasingly higher with tension, as still no one is around to be seen. We see quick shots of Kate’s, Claire’s, Miles’s, and Ben’s expressions. The tense music escalating higher.

 

Another shot panning across the shattered wall ahead, the empty outdoor in view. The music escalating higher. Kate walking slowly as she grips her pistol tensely.

 

And with the music at it highest, as we follow the group out, it suddenly quiets – and then with a heavy dun

 

We see the half dozen SAMSARA assailants surrounding the opening into the station, waiting along the sides with their various guns held. Kate, Claire, and Miles quickly point their guns in directions of some of them. They are all in camouflage. Well, all but the one in dark clothes, who steps forward.

 

KATE: Hold your fire!

 

The others hold their guns tensely. Theodor, then, begins to aim his gun down at the ground. Kate points her gun intensely at him, and a few of the SAMSARA troops have their guns pointed intensely at her. He has a softness in his expression, apprehensive though calm.

 

THEODOR: You are outnumbered.

 

KATE: We can still kill a lot of you.

 

With tense beats, Theodor stands, thinking in his mind on his next statement, which he states, in his faint German accent:

 

THEODOR: You are correct. But there’s no need for bloodshed – on either side.

 

Theodor slowly begins to place his pistol back in his pocket, as he keeps his gaze on the survivors, and they keep their gaze back on him and the other assailants. He then cautiously says:

 

THEODOR: We don’t want a fight. I just want to talk –

 

He lifts his hand and points his finger to Kate.

 

THEODOR: To you.

 

Kate is struck by this.

 

KATE: Why me?

 

THEODOR: You seem to be the leader here.

 

This remark surprises Kate, although we realize that it seems to ring true. We also see a quick shot of Ben’s reaction to this.

 

KATE: No one is harmed. You let my people go back in.

 

Theodor nods slightly.

 

THEODOR: Agreed.

 

Theodor gives a wave of his hand. The troops slowly begin to lower their weapons pointed down. Kate gives a nod to her group, and they begin to point their weapons down too.

 

Miles and Ben start to slowly head backwards inside.

 

KATE: Claire, go.

 

CLAIRE: I’m staying with you.

 

KATE: You need to go in. I’ll be fine.

 

Claire reluctantly agrees, and begins to slowly walk backwards into the building. Kate looks to Theodor.

 

KATE: What do you want to talk about?

 

With a quick pause, Theodor simply says:

 

THEODOR: Come with me.

 

The screen cuts to black.

 

 

[Commercial Break]

 

 

The camera is on the sight of some alley behind a building, the weather thundering. Ahead is Galen in business suit as he walks through, and coming into the foreground of the shot is Kate, hurrying forward towards him. A horn of music starting to blare up as she closes in on him –

 

The next shot is on his expression as he walks through – and we see in the background behind him, Kate suddenly holding up her pistol at him, the music silence, as she cocks it – and he halts with the sound, raising his hands up in surrender. In his raspy voice, he says:

 

GALEN: Greetings again, Miss Austen. I know you were following me.

 

We start to see rain trickle down on both of them. We then see Kate’s expression, one of anger and determination. The music beats softly ominously.

 

KATE: Then you know I’m going to finish this.

 

We then see Galen’s smile. The rain getting heavier.

 

GALEN: I know. You are a murderer.

 

Kate holds her gun still, a rage in her eyes.

 

GALEN: But… your job would be done for you soon anyway.

 

We see a shot of confusion on Kate. And then a shot back on Galen:

 

GALEN: I am dying of pancreatic cancer.

 

We see this register in Kate’s mind, and wondering if he is telling the truth or not. She holds her gun intently at him.

 

GALEN: But you should realize, we’ll release records of you breaking the law.

 

KATE: I haven’t.

 

GALEN: You’re not allowed to leave state, punishment for murdering your father.

 

KATE: My parole ended two years ago.

 

GALEN: But some years ago, you went to Iowa – to see your mother’s grave, I believe?

 

We see Kate struck in her eyes.

 

GALEN: Not to mention, the suspicious circumstances surrounding your last plane’s disappearance.

 

Kate holds her pistol at him, more severely. We see in her eyes, the desire to pull the trigger burning through her.

 

GALEN: We have power over you.

 

A pause, the rain pouring. He then remarks:

 

GALEN: You hold the power of death in your hand. Doesn’t it feel right?

 

Kate holds her gun at him still, silent.

 

GALEN: But it’s not power enough to stop a corporation. You should realize – when I’m dead, somebody else will take my place.

 

KATE: Is that supposed to stop me?

 

GALEN: No – but I have a proposition.

 

Kate remains silent. And Galen reveals:

 

GALEN: There is another Island.

 

This stuns Kate, and hits her with confusion as to his point.

 

GALEN: I would like you to get us there.

 

KATE: If you want it, go yourself.

 

GALEN: We can’t anymore, we lost it.

 

There is an ominous beat of music.

 

GALEN: But your friend, Mr. Reyes, may know how to find it.

 

And then another pause –

 

GALEN: You saw the first Island. You know its power –

 

There is a mystical tone of music.

 

GALEN: This island could give you power over death – danger…

 

Kate holds her pistol intently at Galen still.

 

KATE: I already have that – right now.

 

Galen, his hands still held high, slowly starts to turn around to face Kate head on, the rain pouring down now.

 

GALEN: So pull the trigger.

 

There is a pause of hesitation. Kate holds the gun, and we see a shot of her finger twitching at the trigger. The pulsing need to kill this man. The music escalating with that tension. And then, egging her in a manipulative tone that would make the old Ben Linus proud:

 

GALEN: I’ll come after Aaron next.

 

He smiles. The music escalating. The rain pouring. Kate’s eyes flaring with murder now.

 

GALEN: I am ready. Kill me.

 

The music escalating more heavily, into an intense, fast variation of Kate’s theme. We close in on Kate’s eyes, the overwhelming fire consuming her. Any second now, we know she will pull the trigger –

 

The music escalating, and then, in a sudden silence –

 

Kate’s finger at the trigger – lets go.

 

And she exhales the air that was in her chest. The music in a low hum of some relief.

 

KATE: That’s not who I am anymore.

 

She turns away. We then see a frame of her, Galen now in the background, lowering his arms, as Kate puts her pistol back into her pocket, and then starts into a run from him, down the alley, to the foreground. And we wooooooooosh to:

 

 

We are on Kate again, now walking with Theodor and tough-looking man with him, outside in the pale grass, the sun starting to set. They are walking near one of the other buildings close to the station. Theodor is carrying a thin headset in one hand. They come to a couple of chairs knocked over on the ground. Theodor lifts one up, and then goes and lifts the other, taking a seat in it.

 

THEODOR: Have a seat.

 

Kate sits in the other chair, eyeing him as she wonders his intentions. Theodor looks to the man with them.

 

THEODOR: That’ll be all for now, Foster.

 

He replies back sternly:

 

FOSTER: That’s not a good idea, Theodor.

 

THEODOR: We’ll be fine. Make sure Garrow is honoring the agreement.

 

With hesitation, Foster turns and leaves. Theodor then places the headset he has been holding on his head, its mic tilted to the side.

 

KATE: What did you want to talk about?

 

THEODOR: I’d like to make an offer.

 

KATE: What offer?

 

A pause, and then he states:

 

THEODOR: We have a vast amount of power here. We can probably give you anything you want.

 

This does not surprise Kate, as she has heard indication of the power of this island before. But she does not trust him at all. And yet, at the same time, there is a lot about this that undeniably tempts her. So she just asks:

 

KATE: In exchange for what?

 

And he replies, frankly:

 

THEODOR: I want you to bring us Hugo Reyes.

 

A low dun. Kate’s expression turns apprehensive again.

 

KATE: Why would I do that?

 

THEODOR: …What is your name?

 

KATE: Kate.

 

THEODOR: Well, Kate, we are very interested in what he knows. He protects an island like this one, as I’m sure you’re aware.

 

Confusion marks Kate’s face. And we hear a few low notes of Hurley’s theme.

 

KATE: How do you know him?

 

THEODOR: I will be honest with you – we had him in our facility. But he escaped yesterday.

 

This lifts Kate’s expression a little with surprise, apprehension and gladness all together.

 

THEODOR: I’m only interested in peace, Kate.

 

We can see the skepticism in Kate’s eyes, as can Theodor.

 

THEODOR: We’re not going to harm him… He’s been quite fine with us, as I’m sure he will tell you.

 

There is another pause, Kate still ever apprehensive of him.

 

THEODOR: We’re not going to harm you, either. We’ve let you commandeer Station 2. And you’re free to use the other buildings here for rest.

 

Theodor is hoping to earn her trust. And this prompts her to say:

 

KATE: I just want the Hanso Foundation to stop terrorizing our lives.

 

Although we sense that for Kate, this may not be all she desires. Theodor registers this in his mind. And he says, with a kind tone:

 

THEODOR: I can make sure you’re safe. This island is what they care about most. But I control it – I have the leverage.

 

Kate thinks on this for a moment. Theodor then, to play another card, tilts the mic to his mouth, and speaks:

 

THEODOR: Belle, do you copy?

 

And a pause, as we see Theodor registering what he hears in the headset.

 

THEODOR: Tell me.

 

He then tilts the mic away.

 

THEODOR: One of my people has an extraordinary gift – to speak to the dead.

 

There is a musical tone of mysticism, but Kate furrows her brow with skepticism to this.

 

THEODOR: She is speaking to a man’s spirit right now.

 

A pause, and then –

 

THEODOR: He has told her that you murdered him.

 

With a dun, this strikes Kate with surprise.

 

THEODOR: Who is this man?

 

Slowly, not entirely sure why, she reluctantly confesses:

 

KATE: My biological father.

 

Theodor nods understandingly.

 

THEODOR: He says we should kill you.

 

Kate’s expression is struck again, and we hear another dun. But Theodor says reassuringly:

 

THEODOR: But we’re not going to do that, Kate, I assure you.

 

And a pause –

 

THEODOR: And he says – after that, a man close to you died. And you ran.

 

This hits Kate also. We begin to hear a slow, soft variation of Kate’s theme again. She is starting to think, perhaps it’s true? She admits his name:

 

KATE: Tom…

 

We see Theodor reading her. And he remarks:

 

THEODOR: Death seems to have held its hand on your life.

 

Kate doesn’t respond to this, though in her eyes, she gives away a yes to this.

 

THEODOR: I can understand running.

 

He then adds, his continued observation:

 

THEODOR: But now you’re forced to face it head-on.

 

Kate is unnerved by how well he seems to read her. Theodor, calculating in his mind, then says:

 

THEODOR: The blonde, you were very protective of.

 

Kate is also uneasy at this, that he noticed. She says softly:

 

KATE: She’s like my sister.

 

He nods, understanding. We start to hear Kate and Claire’s sideways theme.

 

THEODOR: Do you have children?

 

KATE: Her son is like my own.

 

THEODOR: And you’d do anything to protect him. It’s not about you. You have your children, your children’s futures, to protect.

 

Kate nods slightly to Theodor’s accurate guess.

 

THEODOR: I see. You’re not a murderer. You’re a lifegiver.

 

Kate is – oddly, uncomfortably touched – by this suggestion. This is how she would prefer to see herself. The music elevates emotionally. (0:21 from the previous track)

 

And then, as Theodor begins to make his next statement, we begin to hear his theme. It’s almost something darkly tragic — just as Jacob’s theme unmistakably reminds us of Raiders of the Lost Ark, perhaps this theme reminds us of another John Williams theme, Schindler’s List, though a unique composition from Giacchino. It also has elements of a rearrangement of the Man in Black’s theme, and some darker mystical notes like a dark opposite to Jacob’s theme.

 

THEODOR: I’ve spent my years trying to give life to those who are losing theirs. … I’ll make sure that your children are safe.

 

Kate looks down, ashamed to think – the offer is almost tempting. And Theodor, believing he almost has her, presses further, for the straw to break the camel’s back:

 

THEODOR: What else can we give you, Kate?

 

And as Kate thinks – we start to hear the soft, ominous piece of Kate and Jack’s haunting flash-forward theme. (0:32 – 0:49) And she finally breaks with what has weighed deeply on her heart – and says:

 

KATE: There’s another man I loved… and lost.

 

Theodor listens, a soft empathy in his eyes. And we start to hear a variation of Jack’s theme. (1:27 – 1:52)

 

KATE: His name was Jack. If you have the power to talk to the dead…

 

Theodor smiles, and nods, understanding.

 

THEODOR: You want to speak to him.

 

And we hold on Kate for a moment, as she is close, so close, to agreeing to this offer. It might be a fool’s hope, but she would so desperately like to speak to Jack again somehow. This whole time, since coming to this island, she has secretly hoped that maybe, it was somehow a possibility. We hold on her tensely for a few moments, as she makes her decision.

 

The music trails off, and as we see in Kate’s eyes, that she knows she can’t give into this temptation. She slowly starts to shake her head. She won’t betray Hurley.

 

KATE: I can’t.

 

She quickly gets up from her seat, and turns, starting to leave. Behind, we see disappointment in Theodor’s eyes. And as the shot holds on Kate’s face, almost in tears at what she almost agreed to. Theodor in the background, simply states:

 

THEODOR: If you change your mind, the offer still stands.

 

The shot still holds on Kate as she walks away, with a very faintly soft, somber tone of music. The screen then goes black.

 

 

[Commercial Break]

 

 

Closing the door, Kate hurries in through Sawyer’s apartment.

 

KATE: I’m back.

 

Claire, Aaron, Sawyer, Ji-Yeon, and her grandmother, are all seated around the area, the TV on. Claire looks warningly to Kate:

 

CLAIRE: You need to see this.

 

Kate gets closer in view to see the TV. We see a worried reaction shot of Ji-Yeon watching the screen, a child being used in something more than she should have to deal with. And we hear a low ominous hum:

 

NEWS REPORTER: And the breaking news is just in, that Kate Austen, member of the Oceanic Six, is now wanted by authorities.

 

Kate’s mugshot appears on the screen. Off the screen, we see the reaction shots of the others as well, including Kate’s dread-ridden one.

 

NEWS REPORTER: Photos have been released of Austen in Iowa, violating her parole several years ago, which she was charged with for a series of crimes:

 

Photos then appear on the screen of Kate in a car, at a gas station, and at the graveyard, each marked with locations and dates.

 

NEWS REPORTER: Sources also indicate that Austen may have information on the disappearance of Ajira Airways Flight 316-

 

As a recording of Flight 316’s liftoff appears on screen, our camera takes us to a wider shot of the group watching the TV, and then close up on Kate’s apprehensive profile.

 

KATE: This is just the beginning. They’ll come for all of us. We need to run.

 

But we see in Kate, that it’s sinking in, that she herself, will never be able to live life free again. It’s over, for good.

 

Suddenly, we hear the door open again. Everyone turns –

 

Hurley, dressed in business suit, comes inside, followed by Miles. Kate, with a pleasant surprise, gets up and goes to approach Hurley, as Claire and Sawyer follow slowly behind.

 

Hurley gives an optimistic smile. We hear the first half of his sideways theme (0:00 – 1:10).

 

HURLEY: Hey guys.

 

KATE: Hurley.

 

She smiles.

 

KATE: We need you. They’re after us now.

 

Miles nods.

 

MILES: They already attacked Richard last night.

 

KATE: What can we do?

 

HURLEY: Do you trust me?

 

Kate slowly nods, and says with the deepest sincerity:

 

KATE: I trust you.

 

He keeps smiling.

 

HURLEY: I’ve got a plan.

 

We see one last shot of Kate, as we wooooooooosh to:

 

 

We are slowly, quietly following Kate as she heads through the dark corridor, back to the console room of the station. Claire, Miles, and Ben are awaiting inside. She gives them a little nod of assurance as she comes in.

 

And then, on the screen, Cindy appears again, with a smile.

 

CINDY: They’re here.

 

She steps away from the screen. And we see —

 

Desmond Hume. More gray in his hair, but still shaven with very light scruff. He’s wearing a blue shirt under a brown coat, and blue jeans. He has a small smile. We softly hear the first few notes of his theme (up to 0:20).

 

He asks softly in his Scottish accent:

 

DESMOND: How’re things there?

 

KATE: We’re working on it. Did everyone make it to the Island alright?

 

Desmond nods with a smile.

 

DESMOND: Aye.

 

He steps out of the way, allowing – Aaron Littleton and Ji-Yeon Kwon to appear on the screen.

 

Claire approaches with Kate to the screen.

 

AARON: Hey mom, Aunt Kate.

 

JI-YEON: Hello Miss Austen and Miss Littleton.

 

Kate smiles, almost teary-eyed again, for the ones her heart truly lies with.

 

KATE: Hey you two.

 

We start to hear a variation of Claire and Aaron’s theme.

 

CLAIRE: Are you both okay?

 

Aaron nods blankly. Ji-Yeon quietly affirms:

 

JI-YEON: Yes, ma’am.

 

Claire smiles with Kate.

 

AARON: How long are you gonna be there?

 

KATE: As long as it takes.

 

AARON: I wish you were here now.

 

Claire smiles with a warm, motherly confidence, and says:

 

CLAIRE: We’ll be there soon, I promise.

 

The music gets heavier, and Kate, still almost in tears, says:

 

KATE: You know I’d do anything for you. Both of you.

 

We see Aaron nod and Ji-Yeon smile on the screen.

 

And with a few soft notes of the piano, we then see a shot of the broken front room, nighttime now, as Hurley, Diya, Walt, and Sawyer arrive. Walt halts behind them as he sees Locke, in his wheelchair again, rolling next to him, and confessing an answer to Walt’s earlier question today:

 

LOCKE: Walt, the truth is, I’m still trying to make sense of my death.

 

Walt listens. And Locke just admits, as he rolls the wheels:

 

LOCKE: I still don’t know what my purpose is – or was. That’s what I’ve been trying to figure out the past ten years.

 

Walt nods.

 

WALT: What about Ben?

 

Locke has a sort of smiling frown, as he looks down, but tries to keep a warm front.

 

LOCKE: He’s found something for himself. That’s good.

 

Locke wheels forward, and Walt looks on, furrowing his brow in confusion, as this seems oddly contradictory to what Locke said earlier.

 

We then cut back to the console room. And we hear the music transition to a soft, faster version of Hurley’s Handouts, as the remaining sound effects mute, and the camerawork goes into a lightly slower motion.

 

In a montage while this music quietly plays, we see Kate, Claire, Miles, and Ben each turn their attention to the arrivals, with surprise – for Diya, and pleasant surprise for the rest.

 

We see varying grins and smiles to see both Hurley and Walt finally reunited with the group, along with Sawyer, the gang together again. Kate says “one moment” to the screen, muted to us among the music, before she turns.

 

Claire goes in to hug Hurley as he smiles. Kate goes to hug Sawyer as he has a small smile as well. Ben gives a grinning Walt a handshake, as Hurley then gives Ben a bear hug and he awkwardly hugs him back.

 

Diya looks around, a warm smile seeing this family reunited. Claire and Kate each then give Walt a hug. We see Locke in the room, as he and Walt exchange warm smiles.

 

We then see Kate and Claire introducing themselves to Diya. And then Sawyer giving Miles a bro-handshake.

 

The montage then slows as finally, Kate and Hurley come together into an embrace, the two leaders.

 

The camera pans around them, and we see Jack smiling as he watches both of them. The music beginning to quiet down.

 

Locke gives a soft glance at Ben who is acting warmly with the others, and Locke just smiles, looking down in thought.

 

We see one last shot of the montage, of Jack looking to Locke, giving him a friendly smile and nod. We see Locke smile warmly back to Jack.

 

Hurley turns and notices Jack who begins to walk away. He follows him. The music fading out.

 

Miles goes to Sawyer, showing him the fragment of the film with his father on it. Sawyer nods.

 

SAWYER: So, you think he might still be here?

 

We see an uncertainty in Miles’s eyes.

 

Hurley follows Jack back to the broken front room.

 

HURLEY: Hey Jack. Want me to get Kate?

 

Jack halts, and we see him turning, looking down in thought, and we wonder, will he agree to it? Hurley is hopeful.

 

Jack then at last gives his answer, turning to look at Hurley. And he shakes his head with reluctance, and says with a soft piano beat:

 

JACK: I don’t want her to hold on. Just let the dead be dead.

 

Jack starts to turn again, but a confused Hurley says:

 

HURLEY: Then why are you still here? You never did tell me.

 

Jack turns back to face him. We hear a low ominous piece (1:49 – 1:52) as the camera slowly closes in on Jack. He stands in the dim night light, and we see him thinking on his answer, something deeply weighing in on him, unsure if he should reveal.

 

And then finally, he says —

 

JACK: I still haven’t found my father.

 

And with a soft ominous piece, we hold on Jack for a moment as he turns and heads back for outside. We see one final shot of Hurley as he registers what Jack just said.

 

And we see one final shot overhead as Hurley watches across the broken room of Jack leaving.

 

And with a soft tone,

 

L O S T

 

[End Credits]

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