Lost – Season 7, Episode 4: “Samsara”

PREVIOUSLY, ON LOST…

 

[From 7.01 Another, we see as Walt finds Diya under the muddy vegetation. Also the Second Monster dragging Walt.]

 

[From 7.02 The Gifted.]

 

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

 

[From 7.03 Death’s Hand, we see Desmond on the screen of the Locomotive station.]

 

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

 

DESMOND: Aye.

 

[We then see a dark Locke standing in the forest.]

 

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

 

[Then Locke in a wheelchair, rolling with Walt.]

 

WALT: What about Ben?

 

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

 

[Then Walt’s confused expression to Locke’s contradictory sentiment.]

 

Episode 7.04: Samsara

 

 

Our first shot is that of an eye – and we then see it is a child’s eye, a girl about age 10 of Indian ethnicity. She is at a wood table outside, a dreary farm with an orangeish hue in the air in the background. Her hands are at work, building something on the table.

 

She then finishes, turning and taking her creation in hand, as a man in tattered clothes appears walking up. He is also Indian in ethnicity. (Actor indeterminate.) He speaks in Hindi, subtitles translating his line:

 

MAN: दीया, क्या कर रही हो?/deeya, kya kar rahee ho? [Diya, what are you doing?]

 

DIYA: देखो, पिताजी, मैंने क्या बनाया है!/dekho, pitaajee, mainne kya banaaya hai! [Look, Father, at what I made!]

 

We then see what is in her hands, some kind of mechanical construct assembled together from fragmented pieces of farming equipment, with what almost looks like arms outstretched from it, and two bells at the front resembling eyes.

 

DIYA: यह खेत में आपकी मदद करने के लिए एक छोटा आदमी है/yah khet mein aapakee madad karane ke lie ek chhota aadamee hai [It’s a little man to help you with the farm.]

 

Her father smiles slightly in amusement for his daughter’s imagination, but then shakes his head.

 

DIYA: मुझे नहीं पता कि उसे जीवन में कैसे लाया जाए।/mujhe nahin pata ki use jeevan mein kaise laaya jae. [I haven’t figured out how to bring him to life.]

 

He then states, firmly but kindly:

 

DIYA’S FATHER: आपके पास एक महान कल्पना है, चीजों के निर्माण के लिए एक महान दिमाग। आपको अपना दिमाग खेत में लगाना होगा।/aapake paas ek mahaan kalpana hai, cheejon ke nirmaan ke lie ek mahaan dimaag. aapako apana dimaag khet mein lagaana hoga. [You have a great imagination, a great mind for building things. You must put your mind to the farm.]

 

She looks down a little disappointed, and sets the object aside on the table, then turning back to face him.

 

DIYA’S FATHER: आइए/aaie [Come.]

 

In the next shot, we see the two arriving at a Peepal tree, its branches outstretched over the two of them with green. There is a soft, mystical music playing. In Diya’s father is a deep spirituality and conviction:

 

DIYA’S FATHER: हमारी सफलता की कुंजी आत्मा में है। आपने अपने खिलौनों में भावना नहीं पाई। लेकिन आप इसे प्रकृति में पाएंगे।/hamaaree saphalata kee kunjee aatma mein hai. aapane apane khilaunon mein bhaavana nahin paee. lekin aap ise prakrti mein paenge. [The key to our success is in the spirit. You won’t find spirit in your toys. But you will find it in nature.]

 

We see young Diya tying a red cloth on a branch of the Peepal tree.

 

DIYA: मुझे ऐसा क्यों करना चाहिए?/mujhe aisa kyon karana chaahie? [Why must I do it?]

 

Diya’s father grows a bit softer with her in his expression. We hear more sentimental music. And he simply says:

 

DIYA’S FATHER: आप मेरी तीन बेटियों में सबसे बड़ी हैं। और तुम्हारी माँ के गुजरने से पहले मेरा कोई बेटा नहीं था/aap meree teen betiyon mein sabase badee hain. aur tumhaaree maan ke gujarane se pahale mera koee beta nahin tha [You are the eldest of my three daughters. And I had no son before your mother passed.]

 

We see a poignance and burden in young Diya’s eyes, but it’s a burden to help her father. He then says with a kindness but insistence:

 

DIYA’S FATHER: हमारा काम यहाँ प्रकृति में है।/hamaara kaam yahaan prakrti mein hai. [Our work is out here in nature.]

 

We see one last shot on Diya as she nods to this, and we see that she is compliant, though pensive in what her father has laid unto her. And we wooooooooosh away to:

 

 

Diya stands alone outside in the night, in her white shirt (with the stains of mud on it), facing the Locomotive station in the distance, observing its broken entrance, and then turning to look around at the other abandoned buildings near by, some rubble scattered about, a few abandoned vans. We can see in her eyes as she takes in the sight of destruction, feeling a burden she has long held in her history on this island. And there is also a worry for the future, how things will unfold ahead with the two groups on this island now.

 

In the next shot, we are seeing Diya at a long distance through the POV of binoculars as she returns to inside one of the buildings. The binoculars are then pulled away. We then see that one of Theodor’s men, in his gray-and-green camouflage, is the one observing her from a distance. He is standing near some trees. He turns and proceeds to where the rest of his group is hidden further in, all gray-and-green, except for Theodor who wears black. And he reports to his superior:

 

SAMSARA TROOP: Sir, I’ve sighted Asset D. She’s with Reyes’ group in a building.

 

This strikes Theodor, as we see him processing this in his mind. The other men around him, watching to see what he will decide. And then he takes out a walkie-talkie, clicks and speaks into it:

 

THEODOR: Gaughan, we need reinforcements in Sector B.

 

Theodor lets out a breath, knowing trials lay ahead of them.

 

In the next shot, we are inside as we see Walt asleep in blankets on the floor of a dark room, and then a wider of shot of the other survivors – Kate, Claire, Sawyer, Miles, Hurley, and Ben, laying about in similar fashion in the wide room.

 

Then we see Diya standing awake among them, as she observes them, wondering on them.

 

And we hold for a moment on the group in the quiet of the dark, – before we hear the sound of a haunting ticking, accompanied by a low suspenseful tone.

 

And then we see smokey essence creeping through the cracks of a door, seeping into the room while they are all asleep. The silvery-gray smoke monster, starting to form up into its usual cloudy shape.

 

We then see a shot on Diya’s expression: she does not appear fearful, or at least not fearful for her own life. It is a different kind of fear, a fear for the consequences of her past actions, for what she created. She stands silent, watching. She does not wake the others, for she expects danger less likely to befall them at this time.

 

The monster hovers over through the room in its low mechanical-esque growl, and it halts at Diya, for a moment, the front cluster of its essence almost protruding forth as if to observe her. We can hear the electrical ticking from within. Diya stares back into it for this moment – although she already has long known all its workings, she feels compelled to just see into it this one moment at this perspective. The Monster does not scan her, however, for it already knows her. We feel the connection of this brief moment as well in the music, some of Diya’s Theme being heard.

 

The Monster turns its front away from her, and with flashes it starts attempting to scan the other survivors as they lay about in the room, the music lowly escalating.

 

But it doesn’t get to do so for long, before everyone suddenly jerks awake! And the music escalates heavily, as everyone scrambles and yells.

 

With one last animalistic roar loudly bellowing into the room, there is a bursting flash, almost blinding, that hits everyone in the room. The music has gone abruptly silent.

 

And in the next shot, we and the characters see, that the Monster is gone. Everyone – Kate, Walt, Sawyer, Ben, Hurley, Miles, and especially Claire, is standing, heart-pounding from this night terror, speechless, a low anxious but calmer tone of music. Only Diya doesn’t seem to feel terrorized. Though we can see a heaviness in her eyes, maybe a disdain for this whole situation, maybe something deeper.

 

And with one last shot on Diya’s face, we cut to black with a SMASH sound effect.

 

 

L O S T OPENING LOGO – it’s reversed

 

 

[Commercial Break]

 

 

A morning sunlight is now illuminating the inside of the building in which Diya, Walt, Hurley, Kate, Claire, Ben, Sawyer, and Miles have taken up residence. However, almost everyone looks fatigued, having not slept the night. Only Diya still appears as physically lively as she did during the night, though still in quiet contemplation.

 

[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Jared Harris, June Kyoto Lu, 5 undetermined guest actors, 4 undetermined guest actresses. Special Guest Star Sam Anderson, Special Guest Star L. Scott Caldwell, Special Guest Sonya Walger. The rest of the credits also listed.]

 

Finally, Sawyer breaks the ice:

 

SAWYER: What was it doin’?

 

Diya explains, as one who knows it well, in her Indian accent:

 

DIYA: It was trying to read each of you.

 

CLAIRE: Why did it run? We couldn’t have done anything.

 

Diya holds back for a second on replying to this, not sure of how to put it, and then states:

 

DIYA: It didn’t want a conflict.

 

KATE: How is it you know so much about it?

 

Diya says again, as she told Walt on a previous day, with a tinge of regret:

 

DIYA: I created it. That was before I knew what I was doing.

 

HURLEY: Well, is there a way to stop it?

 

DIYA: There are a couple of ways, but I know nothing foolproof.

 

As they’re speaking, they suddenly hear a gunshot fire up from outside. Everyone quickly looks to one another in apprehension, and Kate looks through the window, seeing a chair now set up on the pale grass outside. And we see that there is a walkie-talkie on it. There are soft, nervous beats in the music proceeding onward.

 

And with a moment of hesitation, Kate heads for the front door, one hand at the doorknob and one hand at the pistol in her pocket, and she opens, heading outside slowly and carefully. And she takes the walkie-talkie in her spare hand, keeping an eye out at the surroundings outside, a patch of forestry ahead, the ruins of buildings scattered about. No one seems to be around.

 

She clicks the button on the walkie-talkie, and asks with a calm apprehension:

 

KATE: Why are you shooting?

 

Back from the walkie, we hear Theodor’s voice:

 

THEODOR: To get your attention.

 

Kate is silent, and just listens to what Theodor says next, in his faded German accent:

 

THEODOR: I have something important to discuss with you, near the trees.

 

KATE: Talk here.

 

THEODOR: For security purposes, I’d rather you come here.

 

And then he adds:

 

THEODOR: Come alone.

 

Kate lets out a sigh of fatigue and sets the walkie down. We notice behind her, Sawyer, with a rifle, and Miles, with a pistol, have also stepped out, listening in on Kate’s conversation. She exchanges glances with them, and we see in their eyes an undisputed understanding — that Sawyer and Miles are joining her. The music turns a quick flash of a little more heroic.

 

In the next shot, we see them walking across the grass, near the edge of the pale forestry, their hands carefully on their armaments, music suspenseful again. As they get closer in, we see Theodor standing, awaiting at the trees, in his cool-eyed stare and dark clothes. One of his tough men is with him, the one known as Foster.

 

Theodor, seeing Kate’s backup with her, remarks coolly:

 

THEODOR: I did say come alone.

 

Kate just shrugs it off. Sawyer and Miles stand on guard behind her.

 

KATE: You’re not alone either.

 

Theodor glances to Foster, who stands firmly next to him.

 

THEODOR: This is Foster. He is our chief of security.

 

We see a quick shot on Sawyer’s reaction.

 

THEODOR: Though, he likes to fashion himself as my bodyguard.

 

Foster looks gruff. Kate nods slightly, and keeping her focus on Theodor, then asks:

 

KATE: What do you want?

 

THEODOR: I have a new offer.

 

He glances past the shoulders of Kate’s trio, at the building the came from in the background. And then looking back to them, mainly to Kate, he says:

 

THEODOR: You don’t have to turn over Hugo Reyes.

 

Kate is wondering, then, what the “catch” is now.

 

THEODOR: There’s someone we need more…

 

And finally, he reveals:

 

THEODOR: All I want is Diya.

 

This takes Kate by some surprise, though she knows she still does not trust Theodor’s motives. Nor do Sawyer and Miles trust them.

 

KATE: Why would we hand her over?

 

We can see in Theodor’s eyes that he’s thinking through his mind, trying to determine how much the three of them know.

 

THEODOR: Why wouldn’t you?

 

KATE: We don’t just hand over strangers.

 

Theodor then turns his gaze to Sawyer and Miles. A recognition flashes in Theodor’s eyes.

 

THEODOR: You look familiar.

 

Sawyer shakes his head.

 

SAWYER: Never met you.

 

THEODOR: Oh, no, you haven’t, but I have seen you, in the old DHARMA photos.

 

With an ominous note, this strikes Sawyer and Miles with surprise, as Theodor looks to each of them.

 

THEODOR: James LaFleur. And Miles Straume.

 

SAWYER: What’s it to you?

 

THEODOR: I’d like to offer you both to join us.

 

MILES: Why?

 

THEODOR: By all accounts, you two oversaw the most peaceful years of the DHARMA Initiative. At least until the Incident.

 

We see another shot of Sawyer and Miles, as memory flows through their minds. We also see a reaction shot of Foster, taking perhaps an implication against him.

 

THEODOR: Of course, Foster has run things tightly these many years. But this has been an era of war. And we could really use a veteran expertise to police a more peaceful era.

 

This consideration flashes through Sawyer’s mind, almost temptingly. But he just asks:

 

SAWYER: What war?

 

THEODOR: Our war with Diya.

 

But this sets off a red flag for Kate.

 

KATE: How can you be at war with one person?

 

Theodor looks to her ominously, reluctant to say too much.

 

THEODOR: When said person holds key to many of this island’s secrets.

 

Through all of this, however, Miles has something else on his mind:

 

MILES: Dr. Pierre Chang.

 

Theodor looks to Miles.

 

MILES: Is he still here?

 

Theodor thinks in his mind before answering. And he then says, and we are not sure if he is telling the truth:

 

THEODOR: I don’t know. But we can find out.

 

Theodor holds up a hand, as though for a handshake of agreement. Kate, Sawyer, and Miles look to his inviting hand, but none take it. He starts to lower it again.

 

KATE: We don’t just hand over strangers for your convenience.

 

Theodor thinks on this, and tries to reason:

 

THEODOR: Diya can’t give any of you what you need. We stand for science. But she walked away from that many years ago…

 

And as Theodor begins that last sentence, the scene has already started to cut to back inside the building, closing in on Diya seated near Walt, before the line ends. Hurley is also seated near Ben, and Claire is standing near the window with her grip tightened securely on a rifle.

 

Walt, finally, asks Diya something that has been on his mind these past days:

 

WALT: That thing could have killed me when it took me down the hole.

 

Diya looks to him, thinking on his question, already sensing what he is about to ask.

 

WALT: Why did it just leave us there?

 

And Diya feels the best answer to give is an honest one:

 

DIYA: It can’t kill me because I created it.

 

But this still leaves a mystery for Walt himself – and she has an answer for him:

 

DIYA: And you, … I think it must have seen you were special when it read you.

 

Walt takes this in. And he wonders if this could be what he is destined towards, why his Island was leading him to come to this one.

 

WALT: Then what do I do?

 

Diya pauses a moment in thought for advice for Walt, and says somewhat mystically, echoing her father’s old beliefs:

 

DIYA: Focus on the natural. That’s the key to the spirit

 

We see Walt take this into his thoughts also, as he nods slightly. And then the camera is framed back on Diya as she sees him thinking on this. Diya’s mind drifts to memory. Although we are not in a flashback yet, we start to hear a voice over from her past, an ironic one:

 

DIYA: (flashback voice over) We must focus on technology, the key to understanding the spirit…

 

And on Diya’s reflective eyes, we wooooooooosh to:

 

 

We are on Diya as she is in a wide room, at a microphone, giving a lecture before an audience. The audience seems majority Indian, although there are some international individuals in attendance also. Diya looks to be a good decade or so younger than we’ve seen her in the present. She is dressed formally in some kind of dark coat and is wearing eyeglasses. On her coat, is a nametag, Prof. Diya Mishra. There is a projector screen behind her, showing various panels of computer diagrams.

 

She has made the connection between spirit and artificial intelligence.

 

DIYA: What I realized early on in my life was that if we are to develop artificial intelligence, then we must accept the fundamental importance of the soul.

 

She takes a breath before next stating:

 

DIYA: The soul is what gives our body intelligence, and therefore it’s in a soul that we will create intelligence.

 

And then, she further adds enthusiastically:

 

DIYA: That is why, in my work, I have unified computer science with my studies in parapsychology and those who exhibit spiritual gifts.

 

The audience listens interestedly to her unique ideas:

 

DIYA: The importance of spirituality was taught to me by my Pitaajee, Pankaja Mishra...

 

We then see her eyes scanning the audience. The camera then focuses in on part of the audience, and we see a younger Indian woman (actress indeterminate) and her husband, the former with a red dot bindi on her forehead, watching Diya from the audience. But we don’t see Diya’s father among them.

 

We then see Diya’s eyes again — a disappointment flickers through them, but she continues on with her speech. And she slightly struggles to say the next sentence:

 

DIYA: So it has always been my dream to advance our technology, for the benefit of not only him, but all our families in India.

 

And then finally, she says:

 

DIYA: So I want to thank you all who came your way here to IGNOU for this presentation, and I will now be taking questions.

 

We see one more shot on Diya’s eyes as she looks on through the audience, wondering where her father is.

 

In the next shot, it is a short while later, and we now see Diya with the red-dotted couple we had noticed in the audience earlier.

 

DIYA: आने के लिए धन्यवाद, सहाना।/aane ke lie dhanyavaad, sahaana. [Thank you for coming, Sahana.]

 

SAHANA: वह एक बेहतरीन प्रस्तुति थी, दीया।/vah ek behatareen prastuti thee, deeya. [That was a great presentation, Diya.]

 

DIYA: पिताजी कहां हैं?/pitaajee kahaan hain? [Where is Dad?]

 

The woman, who we now realize must be Diya’s sister, replies back with some hesitation:

 

SAHANA: वह घर पर ही रहा।/vah ghar par hee raha. [He stayed home.]

 

There is a slight flicker of hurt through Diya’s eyes.

 

In the next shot, we see a messy living room of a deteriorated-looking home. It is dark outside. Sitting on the couch is Diya’s father, gray-haired now, looking withered and depressed. Diya comes in through the front door. And she takes notice of a bottle of alcohol in his hand, before turning her eyes up to him.

 

And she asks respectfully:

 

DIYA: पिताजी? आप क्यों नहीं आए?/pitaajee? aap kyon nahin aae? [Father? Why didn’t you come?]

 

He looks to her slowly, his reply curmudgeonly:

 

PANKAJA: मेरे पास करने के लिए काम है।. मुझे कर्ज में दबा दिया गया है।/mere paas karane ke lie kaam hai. mujhe karj mein daba diya gaya hai. [I have work to do. I’m buried in debt.]

 

DIYA: मुझे माफ कर दो।/mujhe maaph kar do. [I’m sorry…]

 

She pauses for a moment, before saying:

 

DIYA: यह काम जो मैं कर रहा हूं, मुझे लगता है कि यह आपको आपके कर्ज से बाहर निकाल देगा। मुझे अभी कुछ और साल चाहिए -/yah kaam jo main kar raha hoon, mujhe lagata hai ki yah aapako aapake karj se baahar nikaal dega. mujhe abhee kuchh aur saal chaahie – [This work I am doing, I think it will get you out of your debt. I just need a few more years -]

 

But he then barks out:

 

PANKAJA: आप काम नहीं कर रहे हैं/aap kaam nahin kar rahe hain [You’re not doing work.]

 

He then starts to spit off on a rant:

 

PANKAJA: आपने मुझे बदनाम करने के अलावा कुछ नहीं किया। जिस काम के लिए मैंने आपको तैयार किया है, उसके बजाय आप इस कल्पना के लिए अपने तरीके से चले गए।/aapane mujhe badanaam karane ke alaava kuchh nahin kiya. jis kaam ke lie mainne aapako taiyaar kiya hai, usake bajaay aap is kalpana ke lie apane tareeke se chale gae. [You’ve done nothing but dishonor me. Instead of the work I prepared you for, you went your own way to this fantasy.]

 

DIYA: पिताजी, दामिनी और सहाना आपकी मदद के लिए इधर-उधर रहे हैं।/pitaajee, daaminee aur sahaana aapakee madad ke lie idhar-udhar rahe hain. [Dad, Damini and Sahana have been here to help you.]

 

PANKAJA: मैंने उन्हें यह काम करने के लिए नहीं उठाया। वह तुम थे!/mainne unhen yah kaam karane ke lie nahin uthaaya. vah tum the! [I didn’t raise them up to do this work. It was you!]

 

We can see this hit Diya, her father’s severe disappointment in her, his resentment. And we hear Diya’s Theme softly begin to play. (Reminder: It is momentary, sounding like something of a mix of Classical Indian Music and perhaps a rearrangement of Jacob’s theme. It has hints of sorrow and also the faint dark thumps as though one haunted by the Monster.)

 

PANKAJA: आपको एक पति मिल सकता था जो मदद करेगा। लेकिन नहीं, जो कुछ भी मैं आपको करने के लिए कहता हूं, उसके बाद आप मेरी अवज्ञा करते हैं।/aapako ek pati mil sakata tha jo madad karega. lekin nahin, jo kuchh bhee main aapako karane ke lie kahata hoon, usake baad aap meree avagya karate hain. [You could have at least married a man who would help. But no, you wouldn’t obey me on anything.]

 

We see another shot on Diya’s eyes, as this rant he flames out seeps into her being. And he fires off one last drunken insult:

 

PANKAJA: आप भयानक कर्म हैं/aap bhayaanak karm hain [You are terrible karma.]

 

Diya quickly turns to leave, heading back out the front door outside, shutting it behind, the music getting heavier. Standing at the front in the dark, we see the tears in her eyes, the one person she most wanted to please, now tearing her down so deeply.

 

She continues to hurry away from the door, heading towards the foreground of the camera. And we wooooooooosh off to:

 

 

We are now on a shot of an octagonal logo with “SAMSARA” written within it, on a teal-colored surface. We are hearing the sound of a vehicle moving. Then in a wider shot, we see that this is indeed, a van, like the vans DHARMA used on the first Island. It looks faded and deteriorated. And we see through the windshield that Sawyer is driving it, with Miles riding shotgun.

 

MILES: So what are we doing, Jim?

 

SAWYER: Just wanteda scout out our war zone.

 

As Sawyer is driving, we notice a small facility with a perimeter of lightposts like the ones we saw a few episodes ago, though they don’t appear to be on. We watch with them as they examine this for a few moments. Some music plays to note the moment.

 

We then cut to back inside the building in which the protagonists have taken shelter in. An armed Claire, along with Diya, Walt, Hurley, and Ben, still lingering around. Kate returns back in.

 

HURLEY: Where’s Sawyer and Miles?

 

KATE: They took one of the vans, they wanted a look around.

 

BEN: What for?

 

Kate takes a second before explaining:

 

KATE: Theodor seems to think he’s at war with Diya.

 

We see a reaction shot on Diya. She understands exactly what Kate means.

 

DIYA: All Theodor wants is more power, and he wants whatever I can give him access to.

 

Hurley says firmly:

 

HURLEY: We didn’t come to this island for war. We came here for peace.

 

Kate knows this will be hard for Hurley to hear, for his good intentions, but she knows she must say it nonetheless:

 

KATE: Hurley, whether we want it or not, a fight may be coming.

 

We see another shot on Hurley, as we can see the worry in his eyes. He is deeply convicted to not let things come to this.

 

We then cut back to the SAMSARA van. As they keep driving/riding, taking a few more turns around the grayish green grasses and trees, they soon find themselves driving past another sight: a ring of sonic barriers that had been portably set up some time ago, near another small facility. Some music plays to note the moment. On this sight, Miles remarks:

 

MILES: It looks like they were trying to set a trap for that thing.

 

SAWYER: Could be useful.

 

We cut back to the building the Losties are in. Kate is in a room, searching through drawers for any scraps of information she might find. As she is digging through, she pulls up an old photo.

 

The photo has a group of people on it. On this group, we notice Pierre Chang is on it, with a prosthetic arm, though not too much more aged than we left him in the 70’s. And we also see Theodor is on it. And remarkably, Theodor looks the same as he does now. Marked near the bottom of the photo, is “SAMSARA, 1985”. We hear a soft, haunting beat.

 

We then see Kate’s reaction shot as she pieces these facts together – she is a bit stunned, and a new suspicion is materializing in her mind.

 

In the next shot, we see Walt strolling a bit outside. Despite the risks, Walt can’t seem to keep himself cooped up in that building.

 

As Walt is walking, he sees Locke, in his white shirt, seated in his wheelchair. Locke is observing the environment pensively. Walt approaches him.

 

WALT: Hey, John.

 

John returns a friendly smile.

 

LOCKE: Hello, Walt.

 

Walt is almost tempted to a friendly conversation. But instead, he feels it’s important to ask about something that has troubled him since the day before.

 

WALT: John, yesterday, in the forest…

 

Locke turns to him.

 

WALT: You said Ben needed consequences for killing you.

 

Locke’s brow furrows in confusion, as this was not what he said at all. The music gets a little softly eerie.

 

LOCKE: No, I said it was good he found something.

 

WALT: I don’t mean when we got to the station. I mean when we were in the forest still.

 

Locke still looks puzzled by Walt’s remark. And he just shakes his head, speechless. Walt also looks puzzled, as he can see the sincerity in Locke’s expression.

 

We cut back inside the building. Hurley is looking through the refrigerator, although it seems to be broken and rotted inside, unfortunately.

 

Jack then appears next to Hurley, who senses his presence, turning towards him.

 

JACK: Everything alright?

 

Hurley lets out a sigh, expressing a burden on his conscience:

 

HURLEY: No. I didn’t bring everyone here for a war.

 

Jack says reassuringly, and we hear soft, warm beats of music:

 

JACK: Hurley, you’re not responsible for any war here. It was already going on.

 

Hurley takes in what Jack says. But still, he feels responsible for what goes on here.

 

JACK: And you didn’t make anyone come here. They chose here. They could have chosen our Island.

 

Hurley finds it helpful, Jack’s reassuring words of reminder.

 

JACK: You’ve done a great job keeping our Island secure.

 

We see one last shot on Hurley.

 

And then, the scene cuts again — with the sound of a low bong, we now see the first Island. The camera is getting a distant, picturesque view of it, showing us the beautiful green mountains and the primal jungles, the Island in all its majesty. It’s daytime with clear weather.

 

In the next shot, we see Desmond, looking aged. More gray in his hair, but still shaven with very light scruff. He’s wearing a blue shirt under a brown coat, and blue jeans. He is quietly walking down a sandy white beach. Around him is the beach encampment, the one the Oceanic survivors had stayed at so many years ago. The one he, too, had stayed at for a short time. The beach camp looks rejuvenated and lively. We see that there are some new inhabitants, those of Hurley’s people, living in it. Desmond watches with a nostalgia. We very softly hear Desmond’s theme during this scene, with some notes of the main Lost theme mixed in. We also hear the sound of the ocean waves brushing against the beach.

 

The camera then pans to show us that Desmond is not alone. We are surprised to see that his wife, Penelope is also with him, looking a little more aged as well, in gray shirt and black pants. And with them is a young boy of about 11, with blonde hair, who resembles them both remarkably (actor undetermined). We know this must be their son, Charlie Hume. They both look around at the environment of the Island, this place that Desmond had so often told them about for many years. This was their first time being here.

 

And so we then hear in her British accent, Penny asking:

 

PENNY: How long will we need to be here?

 

Desmond looks uncertain. And, replying in his Scot accent, simply says:

 

DESMOND: I don’t know.

 

And he pauses, before he makes his next remark. One which surprises us:

 

DESMOND: I never thought I’d say this —

 

And we take a moment with Penny and Charlie to hear what he is about to say. He is looking out generally, not at any specific thing on this beach camp, but more at the Island as a whole. And he remarks, ominously:

 

DESMOND: But this is now the one place in the world I’d rather be.

 

And to that, we hear a dark eerie musical note. This note seems to reflect in Penny’s reaction as well. Coming from Desmond of all people, this simple statement carries the most haunting weight.

 

And with a soft thud, we cut to black.

 

 

[Commercial Break]

 

 

We see an overhead shot of the Barracks, with a slight amount of the surrounding green forestry and mountain base in view, as the camera zooms in slightly, before we cut to –

 

Inside one of the houses, a furnished, comfortable, and clean interior. Desmond, Penny, and young Charlie are now inside here, having traveled from the beach earlier. The three of them are growing accustomed to the surroundings of where they will be staying for the time being. We also see that Aaron, Ji-Yeon, and her grandmother are in the house with them, seated around already.

 

Desmond takes a quick glance around, and then says to Penny and Charlie:

 

DESMOND: Well, you two enjoy yourselves here.

 

Concern then flickers onto Penny.

 

PENNY: Where are you going?

 

DESMOND: Just thought I’d go see Rose and Bernard.

 

Though for Penny, there is clearly something more troubling underlying this, some seldom-spoken issue that the two have known these years. Penny just tries to suggest in an amicable tone:

 

PENNY: Why don’t you stay here?

 

Desmond tries to say, reassuringly, though we can sense that he knows what is troubling Penny:

 

DESMOND: I’ll be back soon, I promise.

 

Desmond turns and heads out the door, closing it behind him. Outside, as we hear the tweets of birds from the surrounding jungle, we see him walking away from the front stoop. We see the view of the yellow houses which look repainted, as he turns and notices someone standing near — a woman who we do not recognize (actress undetermined). She bears a pale brown complexion and long dark hair. She is tough-bodied and quiet. We are perhaps reminded of Ilana when we see her.

 

DESMOND: Oh, hello, Tamar.

 

This woman, apparently named Tamar, replies back, in an accent of some vague Eastern mixture, perhaps Israeli and Russian:

 

TAMAR: Where are you off to?

 

Desmond smiles amicably.

 

DESMOND: I’m just going to visit.

 

Tamar offers apprehensively:

 

TAMAR: Let me come with you.

 

DESMOND: No, I don’t need anyone to babysit me. I’ll be fine.

 

Tamar relinquishes, and Desmond proceeds onward in his walk.

 

And the scene cuts away — with the sound of a low bong, we now see the second Island. The camera is getting a distant, view of it, showing us the same dreary scenery we saw in the opening scene of 7.01 “Another”, the center gulf with the four islets pointed towards it, grayish and pale jungle and industrial landscape decorating the islets.

 

In the next shot, we are back in the building that the Losties had taken residence in. Hurley and Ben are seated together. Ben takes notice of the worry reflecting in Hurley’s eyes. We hear soft notes of music during this scene, reminiscent of notes from Hurley’s theme and Ben’s theme.

 

BEN: What’s on your mind, Hugo?

 

HURLEY: I can’t figure out what to do. I don’t have any control here.

 

Ben notes:

 

BEN: I think in times like these, it’s best to follow the Island’s will.

 

But for Hurley, that’s just the problem —

 

HURLEY: I don’t know what the Island wants.

 

Hurley looks to Ben, clearly hoping he has some more insight. And Ben wishes he had more to give. But he can only admit:

 

BEN: I wish I knew what to tell you.

 

Ben pauses a moment in reflection, before adding:

 

BEN: I used to pretend to know what I was talking about, but I had no idea. I even used to pretend I spoke to Jacob.

 

Hurley smiles, and says self-referentially:

 

HURLEY: Well, you do speak to Jacob’s successor.

 

Ben smiles with a slight nod to this. And Hurley admits:

 

HURLEY: I don’t feel like I am, though.

 

Ben says reassuringly:

 

BEN: It’ll take time, Hugo. Look how long it took Jacob.

 

Hurley then exclaims slightly:

 

HURLEY: I don’t want it to take that long!

 

Hurley sighs.

 

HURLEY: I wish I knew who to ask.

 

Diya then approaches the two, somewhat cautiously, wondering if she can, or should, help.

 

DIYA: Hurley… what is your objective here?

 

Hurley then looks to Ben. And they realize Diya may hold the answer they are looking for. In the next shot, Ben is digging through the dry bag, and he pulls out the paper he had drawn on two days ago, with the symbol of the face with a pointed hat.

 

BEN: We’re looking for a station with this logo. Do you know it?

 

We see in Diya’s eyes, an instant recognition.

 

DIYA: It’s called the Tin Man.

 

Before they can continue the conversation, they are interrupted as Walt then walks in with a musical tone of worry.

 

WALT: Hurley, I need to talk to you about something.

 

We see Walt’s worry flicker into Hurley’s expression also. In the next shot, the two are standing in a different room.

 

WALT: I think something’s up with John.

 

And we then see Jack standing near by, listening. He comes closer into view.

 

WALT: When I’ve talked to him, he sometime seems… different.

 

Hurley and Jack listen intently. Walt tries to think how to put this. The music is softly eerie, and vaguely resembling Locke’s mysterious motif.

 

WALT: Like, he’s darker. He’s standing.

 

Hurley and Jack register this. And Hurley recognizes this immediately.

 

HURLEY: You’re right, I’ve seen this too.

 

Hurley looks to Jack, and they wonder, could it be?

 

HURLEY: You think it could be him? The old smoke monster?

 

Jack shakes his head slightly, not sure if he buys this.

 

JACK: Why wouldn’t he just use his own face?

 

Hurley shrugs to this. As they are speaking, Diya approaches, having overheard Hurley and Walt.

 

DIYA: The man you are speaking of, he is a ghost?

 

Walt nods to her question. So she tries to offer an insight they may find useful:

 

DIYA: I have studied cases of ghosts with dissociative identity disorder.

 

WALT: What do you mean?

 

Diya states, with a tone of empathy in her voice:

 

DIYA: Some individuals have trauma so severe that their soul takes on two separate personalities.

 

HURLEY: So, what… Locke has a Gollum thing going on?

 

Walt then asks Diya:

 

WALT: Have you ever known someone like this?

 

Diya pauses for a moment, reflecting. We can see in her eyes a familiarity. She has indeed known of such a case as this. Though it is one she is not comfortable divulging.

 

DIYA: Only one.

 

She then quietly begins to turn away, as Walt and Hurley take this into consideration.

 

In the next shot, we are with Kate and Claire at the window, as they watch for Sawyer and Miles’ return. Kate has her pistol in her pocket, and Claire has her hands tight on her rifle. Claire looks noticeably unnerved, which Kate takes notice of. There are a few soft, dark beats of music here.

 

KATE: You okay, Claire?

 

Claire says smally:

 

CLAIRE: I’m fine.

 

Claire then nods her head indicative towards the window, and Kate looks. We see that Sawyer and Miles are returning. In the next shot, we see Sawyer and Miles emerging into the room, Kate and Claire waiting expectantly.

 

KATE: You find anything?

 

SAWYER: A couple of old traps hanging around for Smokey.

 

KATE: Speaking of Smokey –

 

She reaches back into a pocket and pulls up the old 1985 photo again, handing it to Sawyer, who takes it. The camera again highlights Theodor’s image on the photo and the 1985 date.

 

SAWYER: What are you sayin’?

 

Kate says what she thinks is becoming obvious:

 

KATE: I think it’s him.

 

SAWYER: Theodor is the Monster?

 

Kate nods.

 

After a couple of moments, everyone starts to naturally gather in the room again: Kate, Claire, Sawyer, Miles, Hurley, Ben, Walt, and Diya.

 

Diya then, facing towards Hurley and Ben, questions something of paramount importance to her:

 

DIYA: What do you intend to do when you reach this station?

 

BEN: Our plan was to neutralize this island.

 

This flashes a firm red flag for Diya.

 

DIYA: How were you planning to do that?

 

HURLEY: Well, we were kind of making that part up as we went along.

 

Diya shakes her head a little. But then, she says:

 

DIYA: I know where it is, but I’d like you to do something for me.

 

HURLEY: What?

 

In the next shot, we see Diya is reaching through drawers, the music softly building an anticipation, and she pulls out a tattered piece of paper. We can see between frames that the paper appears to have a map drawn on it. (Viewers who pause on certain frames may be able to make out the details of the map: it is rough sketch of Island 2, with each of its four islets pointed towards the middle gulf. There are lines drawn through the islets connecting through the canals separating them. The southwestmost islet is marked “SECTOR A” and in a different pen color and handwriting, it’s further titled “MONSTER ISLET”. The northwestmost islet is marked “SECTOR B”, and in a different color and handwriting, it’s titled “BATTLE ISLET”. In the northeastmost islet, it’s marked “SECTOR C” and in a writing titled “HABITATION ISLET”. And lastly, the southeastmost islet, “SECTOR D”, is titled “ARRIVAL ISLET”.)

 

Diya takes a pen and marks a line from Sector B into Sector C, which she circles. She then returns to the group, handing it out, and Hurley takes it.

 

DIYA: This is where the station is.

 

HURLEY: So what is it you want?

 

DIYA: I’d like you to come with me.

 

KATE: Why?

 

Diya says, with a faintly grim tone:

 

DIYA: I’m going to show you something.

 

And with the camera held on her, we wooooooooosh to:

 

 

Diya is now seated in a nice-looking room at a table. Seated across the table from her is Manvel Galen, though he looks somewhere between one or two decades younger than we’ve previously seen him in this season.

 

Galen compliments enthusiastically:

 

GALEN: Your breakthroughs in spirit and intelligence are marvelous.

 

Diya admits honestly:

 

DIYA: It’s not taken very seriously.

 

And Galen says, with some conviction:

 

GALEN: But we take it seriously.

 

Diya is almost impressed with their open-mindedness, though partially skeptical to their intentions.

 

DIYA: Why?

 

We hold on Galen’s enthusiastic expression for a moment, before Diya further adds:

 

DIYA: What could this be of interest to your company?

 

Galen responds:

 

GALEN: These are precisely the sorts of fields we prize our interest in.

 

We hold on Diya’s expression for a moment, her wonder at a corporation that would be interested in these pseudosciences.

 

DIYA: What would you have me do?

 

Galen smiles.

 

GALEN: We’ve funded a project called SAMSARA. We would like you to join on as one of our lead researchers.

 

Diya pauses for reflection on this large opportunity.

 

GALEN: It would allow you to take your work to thresholds you never dreamed possible.

 

Diya is very intrigued and tempted. And Galen offers the next piece of his pitch:

 

GALEN: And, we would provide enormous financial support. As I understand, your father in particular is dire-

 

She quickly cuts him off:

 

DIYA: No. … Nothing for my father.

 

We hear a soft, low beat. Galen smiles, and then corrects his offer:

 

GALEN: Certainly.

 

And Diya takes a moment of pause, before, in agreement to the offer, she asks:

 

DIYA: So, when would I leave?

 

And we have one final shot on Galen’s satisfied face.

 

 

[Commercial Break]

 

 

The camera is on the pale clearing between the ruined buildings. The group of Losties is slowly scattering about here. We see a shot on the map again as Sawyer holds it, examining it.

 

SAWYER: I’m gonna do a little recon, make sure the coast is clear.

 

The others look to Sawyer, not sure if this is the safest idea.

 

KATE: Be careful, James.

 

Sawyer nods. Then looking to Miles, he asks:

 

SAWYER: You comin’ with me, Tonto?

 

Miles looks uncertain as to whether he should go or not. Diya turns towards him.

 

DIYA: You should go with him.

 

MILES: Why?

 

She has a couple of thoughts on her mind:

 

DIYA: You have the gift of mediumship, correct?

 

Miles nods, not sure what she’s onto.

 

DIYA: For your own sake, you shouldn’t come.

 

She then says, with a very ominous musical note:

 

DIYA: There will be a lot of dead voices where we’re going.

 

Little flashes of horror wave across the others’ expressions. And then Miles thinks to ask:

 

MILES: Diya – did you know Pierre Chang?

 

DIYA: I did – but you won’t find him where we’re going.

 

MILES: Where is he?!

 

We see in Diya, almost a desire to tell him more – but ultimately she does not reply to him, preferring that he find his own answers. We hear a low, dark variation of Miles’ theme. Sawyer then calls out to him again, more softly:

 

SAWYER: Miles, come on.

 

Miles hesitates, and we see a little frustration for the cryptic answers he keeps receiving. And then turns, heading back towards Sawyer. Hurley walks up next to Diya.

 

HURLEY: Why are you taking us to a lot of, uh, dead voices?

 

Diya slows, and faces Hurley intently. And she says:

 

DIYA: I need to convince you of something.

 

We see a reaction shot on Hurley. And then with the camera held back on her, we wooooooooosh to:

 

 

Diya is in her office at the university, examining through her glasses at a computer screen. As she is working through some “paperwork” on there, we hear a knock on her door, someone faintly visible through its thin window.

 

DIYA: Come in.

 

The door opens, and we see coming, her father. He looks even more withered and grayed than last we saw him. Diya says nothing, but we see her eyes flash into a hurt – and then quickly into a defensive hostility.

 

Her father says, in his weary old voice:

 

PANKAJA: नमस्कार, दीया।/namaskaar, deeya. [Hello, Diya.]

 

She coldly does not answer him. He slowly takes a seat before her desk. We see a pain of regret and guilt in his eyes and his posture as he sits.

 

PANKAJA: काम कैसा है?/kaam kaisa hai? [How is work?]

 

She quickly cuts back:

 

DIYA: मेरी समझ यह थी कि आपको कोई दिलचस्पी नहीं थी।/meree samajh yah thee ki aapako koee dilachaspee nahin thee. [I was given to understand you were not interested.]

 

We see a shame in his eyes, one she might think is for her, though it is in fact a shame for himself. And he just saids straightforwardly:

 

PANKAJA: मुझे खेद है, दीया।/mujhe khed hai, deeya. [I’m sorry, Diya.]

 

He shakes his head slightly, for the attitude he had had for years in the past. We hear soft piano notes. He is now in acceptance:

 

PANKAJA: आपने जो रास्ता चुना उसमें आपने खूबसूरती से काम किया।/aapane jo raasta chuna usamen aapane khoobasooratee se kaam kiya. [You did beautifully in the path you chose.]

 

And he says, with some heartfelt pride:

 

PANKAJA: और आपने याद किया कि मैंने आपको आत्मा पर ध्यान केंद्रित करने के बारे में क्या सिखाया था।/aur aapane yaad kiya ki mainne aapako aatma par dhyaan kendrit karane ke baare mein kya sikhaaya tha. [And you remembered what I taught you about focusing on the spirit.]

 

However, we only see some resentment in Diya’s eyes, resentment at any thought now of having to credit any part of her life’s aspirations with this man.

 

PANKAJA: मेरे द्वारा कही गई भयानक बातें गलत थीं।/mere dvaara kahee gaee bhayaanak baaten galat theen. [I was wrong to say those horrible things. I was a drunken fool.]

 

DIYA: जो मैंने सुना है, उससे नहीं बदला है।/jo mainne suna hai, usase nahin badala hai. [From what I hear, that hasn’t changed.]

 

We see another shame hit the old man.

 

PANKAJA: दीया, मैं चाहता हूं कि हम फिर से एक परिवार बनें।/deeya, main chaahata hoon ki ham phir se ek parivaar banen. [Diya, I just want us to be a family again.]

 

And then we see a flare of suspicion in Diya’s eyes. The music beats darkly, and she just accuses coolly:

 

DIYA: और यह उस भारी ऋण के बारे में नहीं होगा जो आप में हैं?/aur yah us bhaaree rn ke baare mein nahin hoga jo aap mein hain? [And this wouldn’t be about the enormous debt you are in?]

 

The music sinks as we see her father again. He starts to shake his head, denying this, though we can’t help but wonder if this does indeed play a part in why he is trying to reconcile now. And she fires:

 

DIYA: आप अपने आप को जो कुछ भी मिला है, उसके लिए आप जिम्मेदार हैं और मैं जिम्मेदार नहीं हूँ/aap apane aap ko jo kuchh bhee mila hai, usake lie aap jimmedaar hain aur main jimmedaar nahin hoon [You’re responsible for what you got yourself into, not me.]

 

He desperately tries to assure her:

 

PANKAJA: दीया, मुझे बस अपनी बेटी वापस चाहिए।/deeya, mujhe bas apanee betee vaapas chaahie. [Diya, I just want my daughter back.]

 

She shakes her head.

 

DIYA: मेरे आगे एक नया जीवन है। और मैं आपको दोबारा नहीं देखना चाहता।/mere aage ek naya jeevan hai. aur main aapako dobaara nahin dekhana chaahata. [I have a new life ahead of me. And I don’t want to see you again.]

 

The music remains sunken. She turns off her computer, finished, getting up, as the old man just sits, a defeated desperation in his eyes. Before she leaves, she echoes one final remark:

 

DIYA: भयानक कर्म।/bhayaanak karm. [Terrible karma.]

 

And with that, she walks out, icily and self-assured, and the music reflecting it. She closes the door behind her, shutting her father out of her life for the last time. In the next shot, we see her with a mobile phone (it looks like an old one from around the late 90’s to 2000) to her ear.

 

And with an ambition and excitement driving her, she calmly says:

 

DIYA: Dr. Galen, it’s agreed. I’ll join SAMSARA.

 

And we wooooooooosh to:

 

 

Diya is leading the group through a clearing in grayish forested area, Hurley, Kate, Claire, Ben, and Walt following closely behind. They soon arrive upon a strange sight: a thin pit ahead in the ground, surrounded and decorated with lavish flora, more colorful than we usually see on this island, similar to that seen in Diya’s garden in the previous episode.

 

Diya halts to a stop before this spot:

 

DIYA: We’re here.

 

The other five follow and come to a halt, and with them, we see what lies in the floral pit:

 

A darkly familiar sight, a massive grave of rotting skeletons, some of them with octagonal logos on their suits. We hear a chilling piece of music (1:02 – 1:08). We see the dark, disgusted, and disturbed expressions of the other characters as we join them in observing this grisly sight. Though Diya’s expression is one more of a subdued lamentation.

 

HURLEY: What happened to them?

 

DIYA: They died in the war. After we created the… Monster, some stood with me, while others sided with Theodor.

 

She stares down into the pit still. There is dark, somber music softly beating.

 

DIYA: I gradually took them here and planted a memorial around their grave.

 

WALT: All of the ones on your side died?

 

Diya nods.

 

DIYA: Some of Theodor’s also. I buried them here too.

 

Hurley says, with some too-familiar disgust:

 

HURLEY: Why did you show us this?

 

And she explains calmly:

 

DIYA: I wanted to show you the consequences of conflict, so that you think carefully about what you do here on this island.

 

And we do indeed see reflection in the other characters’ expressions, especially Hurley’s, who is adverse to any conflict. And Diya turns, facing the group, and says, with conviction:

 

DIYA: I am protecting this island. I won’t allow you to harm it.

 

BEN: Why are you protecting it?

 

DIYA: Because it’s special.

 

And for Hurley, Ben, and Walt, this seems to click an understanding they can relate to. Ben remarks:

 

BEN: Ah, so you’re a woman of faith. … We respect that. We protect ours on faith, too.

 

Diya then cuts back a remark he’s not expecting to hear:

 

DIYA: Is that why you wiped out the DHARMA Initiative?

 

Ben is taken aback by this for a moment, not expecting her familiarity with its history. And he simply clarifies, in a soft tone:

 

BEN: I only helped the natives access the poison gas factory which DHARMA was already planning to use to murder them.

 

He then further adds:

 

BEN: And that’s ten years after they already violated the Island. Ten years of digging their own grave.

 

CLAIRE: Diya…

 

And Diya turns to Claire, not expecting a comment from her, as she has been quiet this whole time.

 

CLAIRE: Did the Monster kill these people?

 

Claire motions slightly towards the pit. We see a pain welling in Diya’s eyes as she nods.

 

CLAIRE: And did it… claim some of them?

 

Diya understands what Claire is saying. And she nods. We see Claire clutch at her rifle a little more tightly. The fear of a looming darkness returning. We also see a shot on Kate as she notices the subtle reaction in Claire’s body language.

 

We see a reaction shot on Kate. And stepping forward, she says:

 

KATE: Then we need to trap it.

 

And with that, there is a suspenseful note of music, as the camera holds on Diya’s expression, one of apprehension.

 

In the next shot, we are elsewhere on this islet. In the middle of another piece of forestry. Theodor is standing alone among the trees, pensive in his eyes.

 

As he is thinking, his bodyguard, Foster, steps up, saying in his gruff voice:

 

FOSTER: Theodor, our security force is here.

 

Theodor, pleased with this, nods.

 

THEODOR: Good. Tell them to be on standby.

 

Foster nods.

 

THEODOR: It’s time to get started.

 

And with a couple of suspenseful notes, we cut to black.

 

 

[Commercial Break]

 

 

With now see the first Island again. A distant, picturesque view of it, showing us the beautiful green mountains and the primal jungles.

 

In the next shot, we are following Desmond as he wanders through a jungle. It is lively, lush, and damp. Exotic birds and other creatures can be heard calling. The jungle evokes a sense of brightness and benevolence and power. There’s a sense that it’s ensouled. It still ever remains ancient and mystical in its atmosphere. Desmond watches the surroundings as he travels through, in wonder at its life force.

 

Soon, Desmond comes up to a familiar sight: a set of bamboo tables and equipment across a soily ground, with DHARMA food containers on them. And resting before these, a cabin of bamboo and wood.

 

In the midst of these things, we see Rose and Bernard Nadler seated in wooden chairs around a fire. Rose’s braided hair is more silvery now, while Bernard’s beard is more trimmed. We hear their theme.

 

Rose turns, seeing Desmond arrive, and smiles warmly.

 

ROSE: Hello, Desmond!

 

DESMOND: Hello, Rose, Bernard…

 

Bernard smiles.

 

BERNARD: Back on the Island again, huh?

 

Desmond smiles and nods.

 

ROSE: We heard you might be coming.

 

BERNARD: Why don’t you take a seat and join us?

 

And Desmond does so, relaxing into the chair. Vincent also walks into view over to Desmond warmly. He’s an old dog now, and yet something still makes him seem spry. Desmond reaches to scratch behind the dog’s ears, and he starts off the conversation:

 

DESMOND: How’ve you two been, the past ten years?

 

BERNARD: We’ve been doing just fine. Helping Hurley out around this island.

 

DESMOND: Aren’t you breaking your rule, ‘never get involved’?

 

ROSE: Well, it’s nothing too dramatic.

 

Bernard says half-humorously:

 

BERNARD: Besides, it’s better we live together, than being left alone to get eaten by a bear.

 

DESMOND: Do those polar bears still roam around here?

 

Rose shakes her head.

 

ROSE: Hurley and Walt made a reserve for them, out in the west side of the island.

 

Desmond nods.

 

ROSE: What about yourself?

 

DESMOND: I’ve been back home with my wife and son. They came with me here.

 

BERNARD: Oh, then why aren’t you with them?

 

And we pause for a moment on Desmond. We see there is something troubling him, something inside. And Rose and Bernard sense this. The music quiets.

 

ROSE: Is everything okay?

 

Desmond puts up a smile.

 

DESMOND: Yeah. They’re wonderful.

 

And with that second statement, we see that he really means it. He truly loves his wife and son, more than anything. And yet, there is something pulling at him.

 

ROSE: Then why are you out here?

 

Rose and Bernard, in their warm and loving nature, have managed to corner Desmond on the spot, and he knows it. He considers, for just a moment, lying to them. But ultimately, he remains honest:

 

DESMOND: I’m looking for something.

 

BERNARD: What are you looking for?

 

And for just a couple of fleeting seconds, we hear a soft variation of Desmond’s flash-sideways theme (1:44 – 1:48). Desmond pauses in reflection. And finally, he says:

 

DESMOND: Ten years ago, I had an… experience. And I went somewhere else. Another place of… bliss. Of love.

 

Rose and Bernard are listening on this.

 

BERNARD: So why are you here with us?

 

DESMOND: I don’t know… I just needed to tell someone.

 

Rose takes a moment, and then she imparts to him her wisdom:

 

ROSE: Look, Desmond. Take it from us. We’ve settled down and enjoy life.

 

This line starts with a few soft piano notes, before transitioning into a slow, soft variation of Desmond’s Theme. He listens, already expecting this is Rose’s way of “knocking” the sense back into him.

 

ROSE: People don’t find that often. So if you want love, bliss. Go back to your wife and son. Don’t be out here chasin’ a… fantasy.

 

Desmond takes this in, knowing she is right. And we see a couple of last shots of Rose and Bernard in their warm, caring expressions.

 

In the next shot, we see the outside of their house of temporary residence at the Barracks. Desmond’s theme is still playing softly. And in the next shot thereafter, we see Penny sitting at a nice table with Charlie, Aaron, Ji-Yeon, and Ji-Yeon’s grandmother, playing a board game of Forbidden Island. We see for a moment the worry, turmoil in Penny’s eyes for a quiet schism she has felt in her family.

 

We then hear a door close, and everyone turns their attention. Desmond steps down the hall, into view. And he takes a glance at his wife and son, knowing they are who he should be with.

 

PENNY: You’re back.

 

Desmond nods:

 

DESMOND: Yes.

 

And he says, in a tone that he intends to be reassuring:

 

DESMOND: I’m sorry. I’m here now.

 

Young Charlie says, in his British accent:

 

CHARLIE: Hey Dad, want to play? We just started.

 

Desmond smiles.

 

DESMOND: Aye, I’ll join you.

 

Desmond heads over to take a seat with them. The music quiets into a silence as we cut to the next shot:

 

With the sound of a low bong, we now see the second Island. It is the same view of it we saw before, the four dreary islets pointed to the gulf. We’ve now shifted the narrative back here.

 

The next shot we see is on Locke. He sits in his wheelchair, wearing his white shirt. He is in the middle of a clearing. He looks on for a moment, a sadness pressing upon him, a sadness driven by doubt.

 

As Locke is sitting, Jack suddenly emerges around him.

 

JACK: Hey, John.

 

John smiles.

 

LOCKE: Hello, Jack.

 

Jack puts up a smile, though we can see that he is trying to cover a concern.

 

JACK: Is everything alright?

 

LOCKE: Yeah, why wouldn’t it be?

 

Jack then decides to be frank:

 

JACK: Walt and Hugo have noticed that sometimes you appear to them, darker.

 

We hear a dark, eerie variation of Locke’s mystery motif. John looks up, almost rolling his eyes in a frustration.

 

LOCKE: I haven’t been doing that.

 

Jack nods. He believes that Locke believes this, though is not sure what to make of Hurley and Walt’s experiences.

 

In the distance, Hurley is watching Jack and Locke as they converse. In another shot, we see that Hurley is standing near the ring of sonic pylons, the same one that Sawyer and Miles spotted earlier in this episode, a small facility near by. Walt, Diya, Kate, Claire, and Ben are also here.

 

Diya happens to be standing near Hurley, so he turns and asks her:

 

HURLEY: So, your theory about a ghost have split personality. Is that like, a good one and an evil one?

 

Diya shakes her head.

 

DIYA: Not necessarily. It’s based on what the individual needs.

 

She explains:

 

DIYA: In the one account I know of, one side was the wounded one. More vulnerable, unstable.

 

As she explains this, Hurley watches on at Locke and Jack, who we see together in the distance ahead. We now hear the soft beats of Locke’s tragic theme.

 

DIYA: The other side was the stronger, more ambitious one.

 

Hurley keeps watching Locke and Jack. He feels that, if her theory is correct, this Locke he is observing must clearly be the softer of the two.

 

We then shift focus back to the others.

 

BEN: Alright, so it’s a plan.

 

We start to hear music build up quietly with anticipation. Kate turns to Diya.

 

KATE: Diya, you said that you created the Monster. How’d you do that?

 

Diya is a little taken aback by this question. And it’s a complicated one.

 

DIYA: Why do you ask?

 

KATE: Did you turn someone into the Monster?

 

Diya pauses in thought, struck by this unexpected question.

 

KATE: Theodor?

 

Diya looks hesitant to reveal the details. But, she nods quietly. Kate nods, her theory confirmed. And Diya then remarks on a separate note:

 

DIYA: I think only those with combat experience should be involved in this.

 

She turns to Walt, who realizes what she is about to propose.

 

DIYA: I should take Walt and Hurley away from here.

 

Kate nods:

 

KATE: Good idea.

 

We have a shot on Claire as she stands with Kate and Ben. Claire is holding her rifle tightly, now established as one of the combat-ready members of the group.

 

In the next shot, Diya, Walt, and Hurley are joining together. And we hold a frame on Diya, as we wooooooooosh to:

 

 

We now see Diya in her apartment, and it seems reasonably well-off, not too shabby. We see her seated on a sofa, with a couple of trunks already prepared for her departure.

 

Suddenly, her cell phone rings again. She answers it, holding it to her ear.

 

DIYA: नमस्ते?namaste? [Hello?]

 

We take a couple of moments as she listens on the phone. Her expression changes, from one of calm, to one of startlement. We hear a soft piano key.

 

DIYA: क्या वह ठीक हैं?/kya vah theek hain? [Is he alright?]

 

In the next shot, we are now entering into a dingy hospital room, Diya stepping through. Her two sisters are already in there, the one we have seen before, as well as the other we have just met (actress indeterminate), both with red dot bindis on their foreheads. We hear the soft, tragic keys of a piano.

 

The camera pans to show us, on the hospital bed, their father, lying unconscious. A heart rate monitor next to the bed slowly bleeps. The music growing more softly pained.

 

We see on Diya’s face, conflict suddenly brewing, her heart sunken at what she sees. This man she had resented so long, that she had cast out of her life. And yet, now here he lay, dying. Suddenly she can’t help but see the father who had raised her as a child, rather than the old man she had an embittered relationship with in her adult years. We see this turmoil burning in her eyes. She doesn’t know what to say now. And she knows there is a quiet hostility surrounding her in her sisters.

 

DAMINI: डॉक्टर ने कहा कि उसके पास ज्यादा समय नहीं है।/doktar ne kaha ki usake paas jyaada samay nahin hai. [The doctor said he doesn’t have much longer.]

 

We see the stab in Diya’s heart, as she gets closer to him, as he lay there, his eyes shut. Her sister continues, in a tone that restrains a bitterness:

 

DAMINI: वह बहुत ज्यादा कर्ज में था। उसने कीटनाशक का सेवन कर लिया।/vah bahut jyaada karj mein tha. usane keetanaashak ka sevan kar liya. [He was in too much debt. He consumed pesticide.]

 

It hits Diya even harder, knowing this was a suicidal gesture. And a burden of guilt suddenly starting to weight on her.

 

DAMINI: हमने उसकी मदद करने के लिए सब कुछ किया।/hamane usakee madad karane ke lie sab kuchh kiya. [We were doing all we could to help him.]

 

Diya halts at his bedside. Looking down at the old man, as he lay pitifully in his sleep. Damini then fires:

 

DAMINI: लेकिन उन्होंने जोर देकर कहा कि वह कभी भी आपका पैसा नहीं चाहते हैं। वह सिर्फ अपनी पहली बेटी को वापस चाहते थे।/lekin unhonne jor dekar kaha ki vah kabhee bhee aapaka paisa nahin chaahate hain. vah sirph apanee pahalee betee ko vaapas chaahate the. [But he insisted he never wanted your money. He just wanted his eldest daughter back.]

 

We see tears welling in Diya’s eyes. And there are also tears of anger in Damini’s eyes. And softer tears in Sahana’s eyes. And Damini fires:

 

DAMINI: वह वर्षों से इतना दुखी था कि आप चले गए थे। हमने उसे फिर से आपसे बात करने के लिए शर्म से बाहर कर दिया। और आपने अपने करियर की अधिक देखभाल की-/vah varshon se itana dukhee tha ki aap chale gae the. hamane use phir se aapase baat karane ke lie sharm se baahar kar diya. aur aapane apane kariyar kee adhik dekhabhaal kee- [He was so grieved for years that you were gone. We talked him out of his shame to speak to you again. And you cared more for your career-]

 

And Diya feels stabbed with each statement she makes. Sahana interrupts:

 

SAHANA: दामिनी, यह काफी है।/daaminee, yah kaaphee hai. [Damini, that’s enough.]

 

Diya feels the pain of guilt stabbing into her. The soft music has materialized into Diya’s Theme, and it is growing heavier. And at last, Diya places her hand on her father’s empty hand, and holds it.

 

And just as she holds his hand, the heart rate monitor begins to flatline in a screech. We see it sink in Diya’s heart as she realizes now, that he is going. He is going.

 

Her two sisters quickly get up, approaching, in tears.

 

SAHANA: पिताजी!/pitaajee! [Dad!]

 

And we see one last shot on Pankaja Mishra’s eyes as he lay dead, the monitor still screeching. And then one last shot on Diya’s eyes, thunderstruck.

 

And we wooooooooosh to:

 

 

We see Diya in some tears, as she is thinking back on this memory. The music quiet again.

 

She leads Walt and Hurley to an alcove of some dreary, gray trees. As they come to a stop, Diya begins to step away from them.

 

DIYA: You two stay here. I must go.

 

WALT: What?

 

DIYA: I created the Monster. They need me.

 

Walt looks very reluctant to agree to what she said. Although Hurley looks a bit more comfortable with it.

 

WALT: Diya…

 

She was starting to turn to leave, but she turns back to face him.

 

WALT: I think I need to be there. I think it’s my purpose to face it.

 

And we see that this is really important to Walt. We hear Walt’s Theme softly playing. This is the conclusion he has come to. Diya empathizes with his need for purpose. But she cannot agree to him coming along. She shakes her head and smiles smally.

 

DIYA: I don’t know.

 

She turns and starts to walk away.

 

HURLEY: Stick with me, dude.

 

Walt himself does not approve of this. But he thinks perhaps it’s wiser to see how things play out.

 

As the two stand together, they suddenly hear a voice from behind them, standing at the trees:

 

LOCKE: How’s it going?

 

And the two turn towards Locke —

 

And with a heavy piano note, we see it’s the dark Locke. Standing there in his black suit and tie. His eyes seem just as dark as what he wears.

 

Walt and Hurley stand there, just apprehensive.

 

HURLEY: Who are you?

 

Locke stands there, calmly but darkly. He already understands their apprehension. He looks from one to the other. We hear the dark variation of Locke’s mysterious motif, playing more loudly now.

 

LOCKE: I’m John Locke.

 

WALT: Then why doesn’t John remember talking to us in that suit?

 

Locke thinks for a couple of seconds to explain.

 

LOCKE: When I’m like that, I forget things. I need to, to survive.

 

He looks from one to the other.

 

LOCKE: But when I’m like this, I remember everything.

 

We look on Hurley and Walt’s expressions. This seems like it could be a convincing explanation. But there is always doubt.

 

LOCKE: The plan isn’t going to work. You should hand Diya over to them.

 

WALT: Why would we do that?

 

LOCKE: They can get us what we need in exchange.

 

Hurley holds his gaze, apprehensive still. He’s not about to trust any advice from Locke in this persona.

 

HURLEY: I need to know you’re really Locke.

 

Locke steps closer to Hurley and Walt. And he looks at them for a moment, and smiles. And with softer, but still dark, piano notes, Locke says:

 

LOCKE: All I’ve wanted is to lead on the Island. But I wasn’t able to do that, because of the first Monster.

 

With a few notes of suspense, Locke then declares:

 

LOCKE: So I’m going to help you trap this one.

 

There are a couple of more notes of suspense, as we see Hurley and Walt’s eyes, registering what Locke has said.

 

We cut to Theodor, standing in his dark clothes. Observing through the trees, he sees a clearing ahead: and Ben standing in the clearing. They’ve found them.

 

Theodor holds up a walkie, and speaks into it.

 

THEODOR: Tranquilizers ready.

 

We see a few shots of his troops, standing between the pale grayish trees, in their camouflage. They are readying up tranquilizer darts.

 

We take a few moments of suspense. And then, Theodor whispers into the walkie:

 

THEODOR: Fire.

 

And with that, we are on Ben as he stands in the clearing, watching Kate and Claire in his view ahead. And then suddenly, we hear something whizz past — Ben looks down, and sees a missed tranquilizer on the ground next to his shoes.

 

His eyes turn struck with startlement, and he shouts:

 

BEN: THEY’RE HERE!

 

The music starts racing, and Ben rushes, Kate and Claire lifting their guns into action, as a barrage of tranquilizer darts starts firing in their direction. Adrenaline springing through them, Kate lifts her gun and begins to fire quickly on the trees. There is some hesitant from the forces there to fire back. Claire also fires her rifle a couple of times in that direction, and it recoils with each shot.

 

We see Ben barely making it to hide behind a tree as another dart just barely misses him, sticking into a trunk instead.

 

In the next shot, we are back in the perspective of Theodor’s men in the trees. We hear the sounds of the two women’s gunshots, and see a couple of his men swinging back dodging fire. Assessing the situation, Theodor quickly turns and walks away from the scene.

 

In the next shot, Kate and Claire are then rushing for cover as a dart or two flings past them. As they’re running, we then hear:

 

A roaring siren (0:53).

 

Kate and Claire keep running, until they get behind a clump of trees. We see a quick shot to the right ahead, the sonic pylons awaiting.

 

We then see a shot of the trees stirring and shaking from where the SAMSARA troops are residing. There are a few yells heard from within. The music getting more anxious.

 

KATE: …have to lure it there.

 

Kate hurries out of the trees, as Claire stands on guard to cover her, holding the rifle from behind the trees. Kate comes out across the clearing, but before she can move further —

 

The wisp of silvery, light gray cloud starts to pour from the trees ahead. The Monster is quickly emerging. The music blaring.

 

We see Kate suddenly stop to a halt, horror-struck in her eyes. And in the next shot, the Monster stirs upward, and then lunges down in her direction.

 

Kate leaps out of the way, barely missing the assault, and she hurries. In the next shot, we see her hiding behind trees again, somewhere separate from Claire. She looks again, but the Monster is now vanished from sight. The music halted.

 

We then cut back to Hurley, Walt, and Locke’s dark image hurrying over towards the perimeter of lightposts we spotted with Sawyer and Miles earlier in the episode. They are moving quickly, the music beating fast with tension, though in a very short break from the blare of action it was a moment ago.

 

WALT: What are these?

 

Locke explains quickly as they move:

 

LOCKE: SAMSARA had intended their Monster to be a security system. They designed these lights to set parameters for where it could go.

 

They come to a halt at the lightposts.

 

LOCKE: The Monster can project a second form from a distance. [Looking to Walt]  Just like you can.

 

He waves his hand around the direction of the perimeter.

 

LOCKE: So you gotta make sure it gets in in smoke form.

 

WALT: Can’t it just project beyond the lights?

 

LOCKE: No, they were made to hinder that.

 

HURLEY: How do you know so much, man?

 

LOCKE: Because I’ve been talking to their medium.

 

With that, we quickly cut to Claire. In the chaos of the conflict, she is now separated from Kate, wandering around the rubble of remnants of buildings, trees.

 

As she is walking, some SAMSARA troops start to emerge from around the rubble, firing darts which barely miss her. She dodges, her mind very alert. Tense beats.

 

In a quiet, slow, eerie moment, the camera revolves around her, especially around her face. The music like an eerie, soft wind now. We see the fire, the darkness starting to sweep over her face. We see her gripping the rifle tightly. We sink in on her slowly for a few moments, the anxiety, the instability taking over… The sickness reemerging. And then —

 

Claire suddenly starts firing furiously, shooting bullets quickly, holding the rifle so tightly with such maddened strength that she resists against the recoil. A darkly anxious piece of music escalates into a blare.

 

Another troop attempts to take a swing around a piece of rubble to fire at her, but he’s abruptly shot dead before he knows what hits him.

 

Every time a troop emerges from around a tree or from a piece of rubble to fire, he gets shot instantly, in their legs, their shoulders. Claire is perfect in her shots. We see a few flashes of her darkened eyes. Her mind is in another place, a dark place.

 

Another troop runs across, but she fires at him mercilessly, and he falls to the ground with a yelp. She rushes over closer to him viciously. Bleeding, he calls out, his arms up:

 

TROOP: Wai-!

 

But she shoots him in the head before he can even finish.

 

Suddenly, another arm swings around, with gunfire nearly hitting her with a pistol shot, a tense beat. She swings and rolls out of the way.

 

Behind that block of bricks, we see the strong troop Garrow holding the pistol. And Theodor’s bodyguard, Foster, is with him. The music still blaring. He urges:

 

FOSTER: He said darts only!

 

Garrow barks back:

 

GARROW: She killed two of my men!

 

Foster rushes around, and is nearly hit by rifle fire from Claire. She then attempts to fire again, but she’s out. And he quickly swings his tranquilizer gun and fires.

 

In the next shot, we see the dart hitting her in the neck. And in her maddened glare, she quickly trembles and stumbles to the ground, as the music spirals downward with her into silence.

 

Our last shot is on her, unconscious, and we cut to black with a SMASH sound effect.

 

 

[Commercial Break]

 

 

In the next shot, we stand before a SAMSARA troop lying in a wooded area, either dead or unconscious. We see Diya stepping over to his body, listening as a voice speaks over his walkie-talkie:

 

TROOP ON WALKIE: Reyes and the black guy spotted near the perimeter! We need backup there immediately!

 

And with a low musical droning, we feel the worry overcome Diya. She knows she has to go back to help them. She turns to leave. And we wooooooooosh to:

 

We are in a relatively more calm setting. Diya is walking slowly down a shabby hospital hall, tears in her eyes still. And Sahana appears behind her shortly away. She also has tears in her eyes.

 

SAHANA: हमारे साथ अंतिम संस्कार के लिए आओ, दीया।/hamaare saath antim sanskaar ke lie aao, deeya. [Come with us to the funeral, Diya.]

 

Diya pauses, thinking on this. But she knows she will be blamed by many. And she won’t turn away from the path before her.

 

DIYA: मैंने अपना भविष्य पहले ही सेट कर लिया है।/mainne apana bhavishy pahale hee set kar liya hai. [I’ve already set my future.]

 

And Sahana replies:

 

SAHANA: दामिनी तुम्हारे बारे में सही थी।/daaminee tumhaare baare mein sahee thee. [Damini was right about you.]

 

Diya has no response to this.

 

SAHANA: आपको चीजों को सही सेट करने की आवश्यकता है।/aapako cheejon ko sahee set karane kee aavashyakata hai. [You need to set things right.]

 

Diya decides she doesn’t need to be lectured by her little sister. And she continues forward. And we see her sister again, speaking her final warning, one of sincere belief:

 

SAHANA: यदि आप नहीं करते हैं, तो यह प्रभावित करेगा कि आप अगले जन्म में क्या प्राणी बनेंगे।/yadi aap nahin karate hain, to yah prabhaavit karega ki aap agale janm mein kya praanee banenge. [If you do not, then it will affect what you will become in the next life.]

 

Diya continues faster, ignoring her. We hold the camera on Diya as she hurries on, her sister in the background. And we wooooooooosh back to:

 

We are the point of view of Diya’s creation, the Second Monster, seeing the terrain from its gaze. Dreary rubble and decaying grayish trees everywhere. The Monster’s point of view swerves, and we hear the sound of its electrical screeching. We see some of the wisps of its essence across the front of the screen.

 

In the next shot, we see Locke, his whiter side, sitting idly in his wheelchair in the clearing. As the sound of the Monster grows, he turns his gaze up to see it.

 

There it is, the silvery smoke monster fast approaching. We see a shot on Locke as he looks up towards it. His face is a stunned one. Stunned by a mix of grievance and yet desire. We’re reminded of the first time he saw the black smoke monster in “Walkabout”. The camera slowly growing closer to him as the Monster gets closer. The wisps of smoke are not seen on the camera in this shot, however, for this isn’t quite the Monster’s point of view.

 

Indeed, we then see Locke sitting alone, as the Monster suddenly brushes around him. It seems oblivious to his existence. The silvery light gray smoke flowing around him. Flashes of electrical sparks within it. And soon, it has completely brushed past him.

 

We see one last shot of him looking down, dejected. We hear a few notes of Locke’s tragic theme and mysterious motif.

 

In the next shot, we are on Theodor. He is at the sonic pylons now. He is slowly approaching them, walking through them. He looks up around them, thinking on their use. And then suddenly —

 

They turn on. There is a distinct hum of sound waves suddenly connecting between them all, surrounding him. He stands there in his dark clothes, surprised, as he listens around at them. He has been trapped. We hear a few notes of Theodor’s theme tensely playing throughout the following scene.

 

We then see Kate coming out from behind the small facility. She has her pistol held up. She has it pointing at him as she walks closer. But not too close to the sound waves.

 

Theodor, raising his hands, simply remarks:

 

THEODOR: I see our deal is off.

 

And Theodor sees the burning to shoot in her eyes.

 

THEODOR: Are you going to murder me, Kate?

 

And she just says confidently, knowing she’s caught him:

 

KATE: I think you’ll be fine.

 

Theodor is silent, puzzled by this.

 

KATE: Because you’re the Monster.

 

Theodor almost gives a dark smirk.

 

THEODOR: Oh, there are many kinds of monsters in this world. And I may be one of them.

 

But then he adds:

 

THEODOR: But not that kind of monster.

 

And she holds her gun pointed at him still.

 

THEODOR: You won’t shoot me.

 

And with a tense pause, Kate says:

 

KATE: You wanna bet?

 

And she quickly aims down and – BANG!!!

 

With a groan, we see Theodor collapse to the ground. We close in with Kate as she looks to see where he’s been shot —

 

And the music suddenly escalates with horror. There is blood everywhere, pouring out of a bullet wound in his left thigh. He clutches at it in one hand on the ground, groaning in pain.

 

We see a shock of horror on Kate’s eyes. She’s just shot a human being.

 

Theodor still looks controlled in his eyes, despite his injury. And through his groans, Theodor manages out:

 

THEODOR: Told you so.

 

And in the next shot, the camera is at the Monster’s point of view again. It screeches around, wisps of smoke waving across the camera, speeding over the islet.

 

And in the next shot, we see Walt standing in the midst of the lightposts. Ahead, the smoke monster is zipping into view. Walt calls out to it:

 

WALT: HEY!

 

And the Monster suddenly jerks to a halt in its trajectory. And it quickly turns in Walt’s direction. He just stands, tensely, as it hovers over close towards him.

 

And once it crosses into the perimeter of lightposts, they all suddenly spring to life, red flashes emitting from all of them. The Monster screeches in surprise to this.

 

Walt quickly leaps out of the perimeter of lightposts. They all flicker a red flash of light every few seconds.

 

We see Hurley stepping out from the small facility near by, and he laughs jubilantly:

 

HURLEY: It worked!

 

And we are behind Walt again as he watches the smoke monster, screeching horribly as it is trapped, circling itself within the perimeter of lightposts, slowly clustering its form together densely. It has nowhere to escape.

 

And we then see Walt’s face, as it lets out one last roar, and there is a bright, blinding flash of light. We see Walt turning and covering his face with his arm for a moment. And then he pulls his arm back, turning to look again.

 

And his expression is one of unspeakable shock at what he sees.

 

The camera turns from his expression, over to what is entrapped in the lightposts:

 

Diya, standing there in her dirtied white shirt. The camera closes in on her defeated expression. And a musical trombone escalates dramatically.

 

And with a quick cut and a thud —

 

L O S T

 

[End Credits]

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