Lost – Season 7, Episode 5: “Hollowed Hearts”



[From 3.04 Every Man for Himself: Cassidy showing the photo of the baby to Sawyer in prison.]


CASSIDY: This is your daughter.


[From 5.11 Whatever Happened, Happened: Kate reuniting with an excited Cassidy.]


CASSIDY: What are you doing here?


KATE: Sawyer sent me.


[From 3.19 The Brig, a shot of Sawyer strangling a gurgling Anthony Cooper to death with a chain.]


[And then from 7.04 Samsara: a shot on Diya drawing a map]


DIYA: It’s called the Tin Man.


[A shot on Sawyer holding the map.]


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


[Miles with the photo.]


MILES: Did you know Pierre Chang?


DIYA: You should go with him.


[A shot on Miles leaving with Sawyer.]


[And then on Hurley]


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


HURLEY: I wish I knew who to ask.


[Then a shot of Hurley watching Jack and a wheelchaired Locke from the distance.]


[From 1.01 LA X, Sawyer crying as he cradles a dead Juliet to him]


[From 7.04 Samsara again, Theodor (with Foster) speaking to Sawyer and Miles (with Kate near)]


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


THEODOR: -we could- -use a veteran expertise to police a more peaceful era.


Episode 7.05: Hollowed Hearts



Our first shot is of a bright teal van driving across a crisp green lawn, slowing to a stop. We see the yellow houses of the Barracks in the background. And then a shot of the front of the van, a logo reading “DHARMA”. We hear the calls of birds in the background.


We then see that driving the van is none other than Sawyer. He is wearing eyeglasses. His hair is long in the back and short on the sides. He is wearing a beige jumpsuit, a logo on his left shoulder with a star, and on the left of his chest is written “LaFleur”, and below that “Head of Security”.


Sawyer turns to his right, and we see who is riding in the other seat with him: a young dark-haired boy, about age 11, who is wearing eyeglasses. We recognize that this must be a young Benjamin Linus. (The original child actor who plays young Ben is an adult now, so this must be a new actor with an impressionable resemblance.)


SAWYER: You need to go on home, Ben.


Ben’s expression is one of a quiet dread. He can read the kid’s emotions, and he lets out a small sigh. And he tries to reason:


SAWYER: Look, kid, you know you’re not gonna find your friend out in the woods. She ain’t on this island anymore.


We hear a few soft notes of Ben’s theme during this exchange.


BEN: I know.


SAWYER: Then what are you doin’ out there? Keep this up and you’re gonna get us all killed by the Hostiles.


These words aren’t of any comfort to young Ben, for he in fact, would rather be out there with the Hostiles than here at the compound. He sits silently. With a few soft notes, Sawyer tries to give some comforting advice:


SAWYER: Look, I know it ain’t the same when a girl you love is gone. Can feel like somethin’s missing.


Ben remains silent, feeling forced to listen to LaFleur, though not entirely appreciative of the pep talk.


SAWYER: But you gotta move on. I know it’s tough when your home life ain’t great. Mine wasn’t either. But you’ll make it.


And we take another quick pause on Ben as he listens for LaFleur to finish the pep talk.


SAWYER: Now go on, kid.


And so Ben unhappily opens the door and steps out, shutting it behind. Sawyer then turns his face back ahead to the windshield, ready to move the van back to the motor pool.


In the next shot, Sawyer is meeting up with Miles, who is also wearing a similar jumpsuit, on the walkway near the houses. Miles gives a nod, and says:


MILES: Good job finding the kid.


Sawyer nods back.


SAWYER: We’ll keep this under wraps.


As the two are standing, they turn their eyes towards a bit of yelling out across the lawn. We then see that it is a frustrated Dr. Pierre Chang walking with two other unnamed DHARMA members. We only catch a little bit of the fuss:


DR. CHANG: -if we’re going to solve that equation.


As Chang continues to bicker with the other two he is walking with about whatever project they are deliberating on, we then hold a camera shot on Miles for a moment, as he notices this man, his father. And with feelings of conflict and resentment – for this is a time before he learned why his father sent him and his mother away.


The camera is then back on Sawyer, as he turns to leave, and we then cut away.


In the next shot, Sawyer is inside his house, walking through. He’s now in more casual clothing. And he turns into the living room, and there we see waiting for him on the sofa — Juliet Burke. We hear James and Juliet’s love theme softly playing.


And they share a smile as he takes a seat next to her, and then share a quick kiss.


SAWYER: Well, Ben’s home safe and sound, and the fence code has been reset. No one’s gotta know he got out.


Juliet then asks, but she already suspects what Sawyer’s answer might be:


JULIET: Why do you think he got out?


SAWYER: I think because his friend went home on the sub last month with her folks.


We then see that Sawyer’s statement touches on something on Juliet’s mind, something she doesn’t look entirely at peace about. And he notices.




And she reveals what has been unresolved in her heart, the notes of music getting a touch more tragic:


JULIET: I always wanted to go home and see my sister again, and her son.


Sawyer takes this in. He doesn’t see any way of being able to do this right now. But he wishes he could do this one thing for Juliet, he knows how much it matters to her.


JULIET: What about your daughter?


Sawyer starts to shake his head a little with a slight shrug conveying an “I dunno”.


SAWYER: You think I could be a good daddy?


Juliet smiles warmly and confidently.


JULIET: You’d be a great daddy, James.


We see in Sawyer’s eyes that this touches him. That is the kind of compliment he would have never imagined receiving in his life. But it’s a testament to his growth, and a testament to how much Juliet has changed him for the better. And he says with a warm smile:


SAWYER: You’d be a great mom, too, Juliet.


She returns the smile.


SAWYER: Maybe some day, when we aren’t waiting on our people to come back.


Her eyes lower a little, not too optimistic of that prospect. And he, still facing her, assures her:


SAWYER: But if we ever do go back to our time, we’ll find your sister and nephew. I promise.


And the music begins to soften into a silence, as we see one last shot on Juliet as she lifts her eyes back to James lovingly, and then one more shot on James as he stares lovingly back. And we wooooooooosh to:



We now see a faded van driving, a “SAMSARA” logo on its front. An older Sawyer and Miles are riding in it. Sawyer is driving.


And we see a shot on Miles as he examines the old photo Kate had found in the previous episode, the “1985” photo: Dr. Pierre Chang being highlighted on it for us as Miles looks at the photo, wondering.


The two of them take a look around at the surroundings as Sawyer drives them through, following the map they have. The camera highlights an islet on the map: “Section C”, “HABITATION ISLET”, with a line drawn through it indicating a path.


We then see the surroundings as Sawyer and Miles drive through: signs of buildings all around, especially housing. With even fewer signs of vegetation, other than occasional patches of forestry here and there. The buildings look long-abandoned, some of them greatly deteriorated or in ruins. A low, ominous piece of music is playing.


We then cut to:


Kate watching from the trees, as we see in the distance ahead that a group from SAMSARA is at the sonic pylons, which are evidently turned off now. We can see an injured Theodor being picked up and moved by some of the men, his leg still bleeding badly. The music remains low but tense.


Near by are a couple of faded old vehicles waiting idly, one of them square with strips of red, perhaps indicative of some kind of ambulance. We see as Theodor is loaded into it.


We then see one last shot of Kate as she watches, before we cut to:


Hurley and Walt standing before the perimeter of flashing red lightposts encircling Diya. Walt has a subdued and distrusting expression. He watches Diya in the lightposts, saying nothing. We can see that he is still shaken by the revelation that she is the Monster, that he has been duped this whole time, and he is left more confused as to what he’s meant to do in all of this. The music still low but tense.


We also still see the defeat in Diya as well, as she has been trapped here, something she long avoided. And worse, she has been outed in her identity. And she simply stands quietly watching Walt and Hurley back, feeling hostility from them. So she is simply giving them time to take in this shock before trying to talk further.


Hurley is also quiet and wary of what this revelation could mean, though he is not taking this as darkly as Walt is, perhaps more optimistic. But we don’t see him dwell on this for long, before we see Jack and Locke near by. And Hurley looks to his left, seeing them there some feet away. So he goes over, approaching them:


Jack stands, looking calm, though we can see he is mentally making note of Diya in the lightposts. And Locke sits in his wheelchair, also noticing Diya. And they turn their attention to Hurley as he arrives to them.


HURLEY: Can I ask another favor from you guys? I know I’ve been askin’ a lot.


Jack nods.


JACK: Anything, Hugo.


HURLEY: Can you guys go check on Sawyer and Miles?


Hurley tilts his head a little in Diya’s direction, for the latest revelation now sparks an inevitable air of distrust.


HURLEY: She sent them to a Hatch. I just wanna be sure it’s okay.


Jack smiles affirmatively.


JACK: No problem.


We also see a shot on Locke, and he seems compliant also. And then a shot back on Hurley, thinking, as he knows he must take an opportunity to have a question answered for him before Locke can leave. Hurley is not confrontational, but rather burdened by something internal.


HURLEY: Locke. I need to ask you somethin’.


Locke halts. As does Jack. Locke expects this is going to be about what was mentioned before, that a darker Locke personality has been roaming with them. And he is none the wiser than any of them about what it means:


LOCKE: Look, I don’t know what you guys are talkin’ about, these conversations where I’m different-


HURLEY: That’s not what I’m here for, dude.


Locke looks surprised.


LOCKE: Then what is it?


And Hurley tells him frankly, and warmly and somewhat comically, and we hear some soft notes of Hurley’s Handouts theme (2:10):


HURLEY: Look, I don’t know who that creepy Locke is. I don’t know if it’s another smoke monster, or if you’ve gone psycho on us.


Locke is a slight flash of annoyed to the second option.


HURLEY: Or an alien. All I know is, I don’t trust him. But I do trust you, John.


Locke is touched emotionally by this. We hear a few notes of Locke’s softer emotional theme. We see a smile on Jack.


So Hurley then spells it right out:


HURLEY: I need to get in contact with the Island. For ten years I haven’t been able to figure it out. But I think you can help me.


Locke looks even more surprised by this. And a more mysterious Locke theme begins (1:19). And he says, somewhat weakly:


LOCKE: What makes you think I can help you?


HURLEY: Because you were the only one who believed in the Island. You knew how to follow it.


Locke looks skeptical, but also touched by Hurley’s appreciation for his faith. But he doesn’t know what to tell Hurley. He feels just as lost as Hurley is. And he tries to think.


LOCKE: Well…


He rests his hand on his cheek, thinking. Still doubtful. But trying to come up with something for Hurley.


LOCKE: You have to…


He hesitates, and stops. He shakes his head.


LOCKE: No, I don’t know anything.


Hurley urges:


HURLEY: Come on, man! Please.


Locke lets out a small sigh.


LOCKE: I’ll need to think about it.


And Hurley nods in relief that Locke will help him after all. Though Locke is clearly doubtful that he’ll come any closer to a solution later.


JACK: We better get going.


Hurley nods.


HURLEY: See you around, dudes.


And we see one last shot on Jack, and then Locke, as the two are ready to leave. And the screen cuts to black.



L O S T OPENING LOGO – it’s reversed



[Commercial Break]



We are on Sawyer. He is sitting at a table outside, the weather gray and dreary, a busy road in the background. On the table is a book he is thumbing through, though we can’t see yet what it is. We also see a white styrofoam box of food next to it.


[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Kim Dickens, Jared Harris, Robin Weigert, 1 undetermined guest actor, 1 undetermined guest actress. Special Guest Star François Chau, Special Guest Star Elizabeth Mitchell. The rest of the credits also listed.]


A moment later, Miles sits down across from him with a box of food of his own.


MILES: New novel?


Sawyer nods, lying:


SAWYER: Somethin’ like that.


Sawyer closes the book and sets his box of food on top of it before we can make out what the book is. And the two get to eating, which we see for a moment or so.


As they’re eating, a police car speeds past in the road in the background, splashing a puddle of water, its siren sounding. On that note:


MILES: Still looking into law enforcement?


Sawyer shakes his head.


SAWYER: No point, with a criminal background. Will have to find some other way to stop the Hanso people.


Miles has nothing to add to this. And then he cuts to the next point:


MILES: Weren’t you going to meet your daughter today?


Sawyer nods, and then he looks at the watch on his wrist.


SAWYER: Lunch hour’s over, see you around.


He gets up from his seat, taking his box and book, leaving Miles behind who observes as he leaves.


In the next shot, sometime later, Sawyer is sitting idly in his car. There is some soft music lowly beating, something vaguely sentimental. In the seat next to him is a stuffed koala. Under the koala appears to be the open book he was looking at earlier.


He then sees Kate coming up to the window, so he presses a button to roll it down. She looks warm in her expression, but knows this will be a difficult milestone for Sawyer and other friends to achieve today:


KATE: You ready?


Sawyer nods and opens the door, taking the koala in hand, and stepping out and shutting it. Kate notices through the window: the book. We can now more clearly see that it’s a phonebook, with some names/numbers highlighted and others crossed through.


Kate then turns to Sawyer as he comes around in front of the car.


KATE: What’s that?


SAWYER: It’s nothin’.


She presses:


KATE: It looks like you’re looking for someone.


He doesn’t feel like addressing this topic, so he cuts it off with a lie:


SAWYER: I’m lookin’ for Sawyer, man who ruined my life.


Kate is taken aback by this, not sure what to think of him still pursuing this, and she slowly follows him towards the park in the background.


And in the park, we see Cassidy Phillips seated on a bench with her daughter, Clementine, who is about 6 years old.


Cassidy looks cautious, given this is the man who previously conned her and abandoned her and her daughter. But, she has her hostilities down, willing to give a chance to let her daughter get to know her real father. On the other hand, young Clementine, quietly looks a little more excited, blissfully ignorant of her parents’ past history together.


Sawyer approaches the two nervously, Kate alongside him as a sort of mediator. We can see conflict in Sawyer’s eyes, someone who wants to live his life right and responsibly now, but who doubts his capacity to be a father. The music softly, lowly reflects all of this history and conflict. And Sawyer just nervously greets Cassidy:


SAWYER: Hey Cassidy.


She returns a slight nod, and returns a greeting, first calling him by the name she knew him as, before correcting herself to his real name:


CASSIDY: Hello, Sawyer… James.


And Sawyer turns to Clementine next, putting up a warmer exterior for her, hoping to leave her with a likable first impression.


SAWYER: Hey Clementine!


And she returns, with a smile:




SAWYER: You like bears?


He says this as he is starting to hold up the stuffed koala in hand. And Clementine replies brightly:


CLEMENTINE: That’s a koala. They’re not actually bears.


Sawyer smiles:


SAWYER: Well, you’re really smart to know that!


And she reaches to take the koala, which he hands her. And Sawyer stands, not entirely sure what to say next in this situation. But Clementine already has her next remark in mind:


CLEMENTINE: So, you’re my real dad?


Sawyer nods.


SAWYER: Yeah, I am.


CLEMENTINE: Where’ve you been?


Sawyer shrugs a little, preferring to avoid mention of his criminal history.


SAWYER: Been busy with work. – And I got stuck on an island.


Clementine nods. And we also see a flash of remembrance in Cassidy’s eyes of Sawyer’s work. And we see a shot on Kate as she keeps holding up a positive demeanor, but one that’s sensitive to the difficulty of this situation.


SAWYER: How’ve things been at home?


CLEMENTINE: Things have been great! Me and Mom and Lane have been going kayaking.


She then quickly clarifies:


CLEMENTINE: That’s Mom’s boyfriend.




Sawyer holds up a smile, and we see in his eyes as he registers this. We also see a quick shot on Cassidy. We realize now, Clementine already has another father figure in her life.


SAWYER: Sounds like a lot of fun!


And we see one last shot on Sawyer as he faces his daughter, before we wooooooooosh to:



We can see Sawyer through the window of the van, as he steers. We see as he and Miles look through the windshield to what’s up ahead, as the van is slowed to a stop: a wide, dark building, looking less ruinous than the others, surrounded by some dreary grayish forestry. There is a double-doored entrance, with an octagonal logo outlined across it: and with the symbol of the “Tin Man” head on it. We hear a low ominous beat of music.


We see one last shot on Sawyer and Miles through the windshield.


SAWYER: Here we are.


We then cut away from this scene, back over to the perimeter of red-flashing lightposts encircling Diya, Hurley and Walt standing outside them. We can see Walt is still silent, distrustful. The music still beating lowly with a quiet tension.


Diya finally attempts to break the ice:


DIYA: Walt, I know how this looks. But I’ve helped you for 3 days. You can trust me.


Walt shakes his head slightly, and finally speaks:


WALT: You went out of your way to lie.


DIYA: Aside from telling Kate that Theodor was the Monster, I have been truthful in everything I have said.


WALT: It’s not just what you said. You even made yourself appear in two places at once. I get it, I can do that too. But you lied to me.


DIYA: I couldn’t tell you who I was, as evidenced by the barrier between us now.


Walt shakes his head again, though has no real reply. He looks across the lightposts for a moment.


WALT: What are these even here for?


Diya looks across them.


DIYA: They told me this perimeter was a test site, but I think they were already planning to trap me here. That was before the war started. After it did, they set up the sonic pylons.


Walt remarks angrily:


WALT: I can see why.


Diya lets out a small huff of frustration. It doesn’t look like she’s going to be able to reason him back to her side any time soon.


As they are speaking, Kate and Ben suddenly appear on the scene, joining near Hurley.


KATE: Have you seen Claire?


Hurley shakes his head.




Kate suddenly turns, noticing Diya in the lightposts. And she finally connects the truth:


KATE: It was you!


And she is angry, the music beating a little more tensely. She approaches the lighthouse perimeter more closely, accusingly in her glare at Diya. And Diya can only say:


DIYA: I’m sorry.


Kate then says, still angrily:


KATE: I shot an unarmed human being because of your lie.


Diya is quiet, with no reply to this. And we then cut to —


A bullet dropping into a bowl from surgical pliers, being held by one of Theodor’s men. We then see Theodor, laying on a bed in a small enclosed space – the ambulance. We can see the wound in his leg, still bleeding. The subordinate places a bandage cloth on the wound. Theodor’s chief of security, Foster is also present.


THEODOR: How many did we lose?


FOSTER: Two were killed, and several more took hits. We’ve extracted all the bullets, but we need to get everyone back home for better care.


THEODOR: How did they get so many shots on our troops?


Foster lifts his eyes over Theodor to indicate past him, and Theodor turns his head to look — we now see that on another bed, Claire is lying unconscious, and we hear another ominous beat as we realize they’ve captured her.


We see one more shot on Theodor as he takes this in and what it could mean, before we cut back to —


The SAMSARA van sitting parked, Sawyer and Miles now standing outside it, as they approach what’s ahead. Sawyer’s rifle banded around him, and Miles’ hand at the pistol in his pocket. We see the two of them walk up some steps to the double doors of the Tin Man, and they press on through.


Inside, we emerge into a dark room, as the doors swing shut behind them. Sawyer flips a lightswitch, and lights along the ceiling illuminate. They are in a narrow passageway. They slowly, cautiously head onward into the dark depths of the station. Low, suspenseful music is whistling eerily.


Once they get to the end of the passageway, into the darkness of the next area, the lights illuminate as Sawyer reaches and flips another switch. Now they are in a room with tables and desks, scraps of paper and notebooks splayed across them. There are passages in the walls to other darkened areas.


And we see a ceiling camera up close to our frame of view. We then see, from the ceiling camera’s point of view, the visual of Sawyer and Miles stepping through. The ceiling camera seems to have a ‘tunnel vision’ with a slightly uneven framerate of the movement it observes.


We are then back in our normal lens of the two. Miles turns and takes notice of the doorframe of the passage they just stepped out of. And it looks like we can see a long slot along the top of the frame, as though for a blast door. Miles looks fleetingly curious, but moves on.


The two then notice a diagram of the station on a wall, which they head over to examine. We only get a momentary glimpse of the map: it appears the rooms are mostly concentrated further in the station. (Although you would need to pause the screen to take note of all of it, there seems to be an outer layer of mostly solid wall only connected by small shafts leading to objects marked “EM Generator”. There also seem to be various rooms labeled, including some noteworthy ones like a “TV Room”, “Computer Room”, “Transformation Pit” adjacent to “The Rabbit Hole”, and “EM Valve”, among some more basic living rooms.)


MILES: Well, let’s check the place for goons.


Sawyer gives a slight nod, and the two head on through the entry to another dark room.


We then see several shots of Sawyer and Miles separately, cautiously checking out various passages and rooms through the station, flipping lightswitches and illuminating the dark rooms. We make note of a few other ceiling cameras situated around the station at times, as well as some speakers also hanging from the ceiling. Some shots we are seeing from the point of view of a ceiling camera.


Low suspenseful music continuing to play. Though it seems to materialize into its own theme, one that is mysterious and suspenseful, and technical though yet somehow lively. We might call this the Tin Man theme.


Among the rooms we see as the two explore each, we make particular note of the following:


Miles illuminating a room with a television, a VCR/DVD player that looks to be from about 2000, furniture, and a table with a thin box on it.


Sawyer illuminating a room with some hardware and computer equipment from the early 2000’s, including a couple of actual computers and monitors, situated on desks, with a seat in front of them.


Miles illuminating a rather interesting room in the middle of the station, a rather large room with a slightly large, circular hole built out through the middle, some fencing around it, and other equipment scattered around.


Miles approaches the hole carefully and looks down, and we see inside, it slopes into polluted, bacterial water that hasn’t been maintained in a long time. We see confusion on his face, wondering what this was all for.


Sawyer illuminates another, more narrow room. And the music hits us with a scare! Sawyer jumps.


He sees that on the right side of the room, lying on a slab is a rotting skeletal corpse, dressed in a white coat.


And the music hits another flash of eeriness as he turns to his left to see yet another skeletal corpse, this one dressed in a darker coat.


Unsettled, he continues to the end of the room, where there seems to be a narrow channel of bacterial water. We can barely make out a large tunnel on one side of the wall under the water, and a grated hole on the other wall. And he quickly turns back out of this room.


In the next shot, we see as Jack and Locke (in wheelchair) have arrived. They are in the room with the tables and splayed papers.


JACK: I think this is it.


Locke nods. And he remarks with a sad nostalgia:


LOCKE: Reminds me of the old days in our hatch.


Jack nods thoughtfully.


Back to Sawyer and Miles, they reunite in one of the corridors.


SAWYER: Well we’ve checked everywhere. There’s nobody else here.


Miles nods, concurring.


MILES: So what is this station for?


Sawyer shrugs.


SAWYER: Something to do with neutralizing this island.


And with that remark —


The two are suddenly startled as a scratchy static (4:00 – 4:10) suddenly blares in the station. And a woman’s voice can be heard in it, though it is not the same voice from the Swan station, but somehow still familiar.


SPEAKER: Bottle Protocol commencing in 15, 14, 13…


The voice can be heard continuing to countdown as Sawyer speaks:


SAWYER: What is that?!


Mile has no answer, and the two approach one of the locations of where the voice is coming from, a speaker from the ceiling which they look up to, hearing it more loudly and clearly now.


SPEAKER: 7, 6, 5…


We quickly cut back to an apprehensive Jack and Locke, the camera zooming in on the latter’s eyes, striking with reminiscence of a similar past experience.


SPEAKER: 2, 1…


And as our view is still close on Locke’s striking eyes, the station blacks out, the lights completely off and the screen dark, we are unable to see anything for a moment. And at the same time, we hear a ringing alarm (although it’s different from the one in the Swan) and the sound of doors sliding down in a thud (4:36 – 4:40). And then we hear another sound, the sound of a magnetic hum rising for a moment (similar to 5:54 – 5:58), and before we can process what we’re hearing, the humming is then calming down into silence.


And then, after a couple of seconds, a dim light turns on, just barely illuminating the room again with only a slight yellow shimmer. We can see Locke’s eyes still as they dart around, trying to process what is going on around them, Jack pacing a little near by him.


And in the next shot, Sawyer and Miles rush into the room, and they head over to the entry passage – except now it’s blocked off with a large slab like a blast door. We see the two halted at the barrier for a moment.


MILES: Let’s check the back door.


The two hurry out of the room, down a dimly-lit corridor. We remain with Jack and Locke in the room of tables.


Locke spins his wheelchair around to approach the barrier. And we can see that he intends to travel through it, but –


Frustration, confusion. Locke holds his hand up to his chin. We see another shot of the barrier, and then a shot Locke again in his confusion. For some reason, he is not traveling through.


And then we see Jack scanning along a table at the wall next to the barrier. There is a lamp slightly tilted against the wall now.


Jack heads to a bare space on the wall and starts to hold his hands against it — and somehow, it seems solid. And he listens to the wall closely — and we hear a low rushing hum of a magnet.


We are then back on Locke, as he faces the barrier. And we can hear that same magnetic hum softly through it. So Locke turns and faces Jack, and says:


LOCKE: I think we’re trapped.


In the next shot, we see Sawyer and Miles arriving at an identical-looking barrier on the other side of the station. It seems everyone is trapped in the station.


And we get one last shot on Sawyer’s apprehensive face, before we SMASH to black.



[Commercial Break]



Our shot is from the point of view of the ceiling camera, and it is in some kind of “night vision” mode now that makes Sawyer and Miles look green as they walk through a corridor.


In the next shot, we are back to the normal lens of our point of view as we see Sawyer and Miles continuing to walk through the dimly-lit corridor. A more dramatically eerie tune is playing.


SAWYER: And there’s no other way out?


And the two exchange, maybe half-sarcastically, half-sincerely:


MILES: Not unless you wanna try your luck dunking in the polluted water.


SAWYER: Last resort.


As they start to slow in their walk, Sawyer decides:


SAWYER: Let’s check out the computers.


In the next shot, Sawyer and Miles are entering into the computer room, the lights dim here as well. They reach over to turn some of the computers on, but only one of them in the middle turns on. So Sawyer sets his rifle aside and takes a seat as the computer is on a slow loading screen, Miles looking around the room for any clues.


There is a low piece of mysterious music playing, as we hold on Sawyer’s expression for a moment, the computer screen’s light shining on his face, and we wooooooooosh to:



A weary Sawyer is behind a bar, scrubbing it off, trying to get through another day in his trivial job. As the camera pans, we see it’s a restaurant bar, maybe some kind of steakhouse. Some kind of pop or rock music is playing in the restaurant.


As we see Sawyer continue to move glasses from the bar, we see the shadow of a figure coming to take a seat at the bar.


SAWYER: We’re out of the banana daiquiris.


SHADY GUY: That’s alright, I’m more an Old Fashioned guy.


Sawyer nods, reaching for a glass and starting to pour it from the bottle.


SHADY GUY: And I’d like a little chat, too.


SAWYER: ‘bout what?


The Shady Guy leans in closer as he takes his drink.


SHADY GUY: My friend tells me you’re looking to make your records go away.


Sawyer stops what he’s doing, attentive. Now he knows who this man is, someone he’s been expecting. He leans in closer, nodding.




The shady guy is quite amicable but there is a foreboding air about him.


SHADY GUY: I can make that happen. I hear you’re trying to get into law enforcement.


Sawyer nods.


SAWYER: I’ve been lookin’ into it.


The shady guy snorts a little.


SHADY GUY: Conning your way into the force. Genius. But, if you do that, I’ll expect help from a man of your position.


Sawyer pauses, reflecting on what he just said.


SHADY GUY: We can hash the details over later. You interested?


And we close in on Sawyer as he thinks his options through, a conflict in him, getting back into crime to get into law enforcement?


In the next shot, we see a nice pair of doors opening, and Sawyer coming through inside a building, along with Kate and a blonde girl – who we know must be Clementine – though now she looks to be about 14 (actress indeterminate).


And the three of them head through the lovely, fanciful house. Miles, his hair now thinning with age, comes to greet them.




MILES: Hey Clam! Well, this is the pad.


She looks around, impressed with the house.


MILES: This really the first time you’ve been here? I could’ve sworn we had a shindig a few summers back.


CLEMENTINE: I was probably on a trip with Mom and Lane.


MILES: Well, you can chill wherever.


They head into a very comfortable-looking living room, and Clementine goes to take a seat, a large wide-screen TV facing them. And then the doorbell rings.


MILES: That’s probably the pizza.


As Miles leaves to answer the door, Kate takes Sawyer aside for a moment.


KATE: You were gone again.


SAWYER: I know, I know, I missed her soccer game.


KATE: Swimming.


Sawyer sighs.


KATE: Are you still looking for him?


Kate is concerned, but Sawyer ignores her and proceeds to go and take a seat back down next to Clementine.


We see a quick glimpse on the TV screen, The Wizard of Oz is on. (We start to see the Tin Man’s song for just a moment from “And yet I’m torn apart” {0:12}.) It continues to play in the background as the camera shifts focus back to Sawyer and Clementine on the sofa.


And she abruptly, casually remarks:


CLEMENTINE: You know, it’s okay. I know you’ve got your own life.


Sawyer looks a little embarrassed that that conversation was overheard. And we can see in his eyes, he knows, he knows that he has not been living up to the fatherly role he would have liked to have. And he is sensing that his final failure may be imminent.


And Clementine just smiles, understanding. And we see one last shot on Sawyer’s subdued eyes, before we wooooooooosh to:



The computer screen again, now appearing loaded. However, it looks like there are few icons to click on. We see the mouse arrow moving to click a ‘Recycle Bin’ tab, but it’s empty. He then moves the arrow up to the ‘X’ button and closes it. Back on the screen: there are notably two other tabs, a ‘Chess’ tab and a ‘Chat’ tab.


Suddenly, a chessboard appears on the screen, with Sawyer as white against black, and a prompt: “READY TO PLAY? YES / NO”. We see a shot on Sawyer’s surprised expression. A slight tone of mystique.


SAWYER: I didn’t open this.


Miles turns and looks curiously.


MILES: Play it, see what happens.


Sawyer sighs, raising his eyebrows, and clicks “YES”. On the screen, we then see him move his first pawn up. And then we see the computer’s pawn move down. We cut to —


Jack and Locke walking (and rolling) through the shadowy, dimly-lit corridor. We can see Jack holding his hand out along the right wall, feeling if he can move through. They come to a stop, and Jack looks up towards the ceiling. We can hear a low, subtle humming. We also see Locke staring down at the floor, and we hear a subtle hum to this as well.


JACK: It’s all around us. There’s no gettin’ out of here.


This seems so mystifying to the two of them, that a barrier could just exist stopping them, as something in the “living world” has never stopped them as ghosts before.


LOCKE: Maybe we should go see what James and Miles are trying.


We cut back to Sawyer and Miles in the shadowy computer room. Sawyer intently at the computer. We see a quick shot of another one of his pieces moving across the screen, with multiple pieces from both sides now across the board, some already taken.


MILES: You need to take that rook with the bishop.


SAWYER: Hey, I’m playin’ the game.


Miles shrugs:


MILES: Just tryin’ to help out, James.


Sawyer says with a tinge of annoyance as he clicks another piece in place:


SAWYER: That’s Jim to you.


Behind them, we see Jack and Locke each emerge into the dim room. The two living men take no notice of the two dead men.


SAWYER: Take note from the master. I’m about to finish this.


On the screen, we see Sawyer’s queen move into place two spaces from the computer’s king.


SAWYER: Comp’s screwed, now.


And on the screen, we then see, with a tone of surprising mystique: the king moves two places from its spot and kills Sawyer’s queen.


Sawyer furrows his brow in confusion. And we see Miles’ amused surprise also.


MILES: What just happened, chessmaster?


Sawyer says with some quiet outrage:


SAWYER: It cheated!


We then see a quick shot on Locke’s own face of surprise. He looks towards Jack, remarking:


LOCKE: A computer doesn’t know how to cheat.


A small shot on Jack’s reaction, before we see a shot on Sawyer again, as he is connecting something together in his mind:


SAWYER: I think I’m gettin’ conned.


MILES: Conned by a computer?


SAWYER: No — whoever’s pretending to be a computer.


And we hear a low tone of suspense or mystique, as we see the chessboard on the screen. And then suddenly, something new pops up on it:


A chat screen, with words at the top reading:


INITIATOR: Hello, James.


The music elevates a little more mystically to this. We see quick shots on Miles’, Jack’s, and Locke’s facial reactions, before we conclude on Sawyer’s, one that is mystified for whoever this is.



[Commercial Break]



We’re on Sawyer’s expression: looking a little urgent, as he sits in the shadowy room. We see him type on the keyboard, and then appearing on the screen below the initiator’s message he received is his reply:


YOU: Who is this?


We see a few shots on Miles’, Jack’s, and Locke’s eyes as they observe the conversation unfolding. And next appearing on the screen:


INITIATOR: You wouldn’t believe me if I told you.


There is a slightly suspenseful, mysterious note to this. Sawyer’s expression is a little derisive to this evasion, but he decides not to press the issue and instead types the following, which we see on the screen:


YOU: How do you know my name?


And then a couple of seconds, before this suddenly appears:


INITIATOR: I overheard it. I can see you through the cameras.


To this, Sawyer looks a little struck. He and Miles turn and look behind, and we can see a camera hanging from the ceiling in the dimly-lit passage outside, aimed facing into the computer room. Low, suspenseful music still quietly playing.


Sawyer then types at the computer again:


YOU: Did you lock us in the station?


A couple of seconds, and then:


INITIATOR: I activated the Bottle Protocol.


Sawyer types:


YOU: What is that? What is this station for?


A second or so later:


INITIATOR: You can watch the orientation video to find out the station’s purpose.


Sawyer huffs a little in annoyance at the cryptic, unhelpful answers. Miles quips:


MILES: Well, while you’re chattin’ up your new pen pal, I’m gonna check the video.


Sawyer nods as Miles turns to leave, walking unnoticing between Jack and Locke out of the room. Jack and Locke decide to also start to turn to leave. Back on the screen, another message appears:


INITIATOR: The Bottle Protocol is a security prompt.


Sawyer types:


YOU: What for?


And then, a couple of seconds later:


INITIATOR: I overheard you reference neutralizing this island.


And we see a close up on Sawyer’s expression, as it dawns on him that he did say something along those lines earlier, the music elevating a little. And then the next message appears:


INITIATOR: I cannot allow that.


One more shot on Sawyer, before we cut to:


Miles arriving in the dimly-lit TV room. On the table in there is a thin box. It is labeled with a tab marked “Orientation”. He reaches to pick it up off the table. Opening it, we find there is a disc inside.


In the next shot, we see Miles reaching down to a VCR/DVD player, and he presses the open button on the DVD slot, causing it to extend its tray, which he drops the disc onto. He then presses the tray back in, and goes to take a seat on the sofa.


At that time, we see Jack and Locke emerging into the room.


On the TV: we begin to hear a tune that resembles the old orientation film motif, except this variation has a more sleek, “modern” quality to it. The screen is light, and dark words begin to appear on it:




       3 OF 3



Which fades from the screen and is then replaced by the large octagonal symbol, with the the “Tin Man” head logo. Beneath the logo appears smaller words:




We then take note of Miles’ reaction to what appears on the screen:


Dr. Pierre Chang, though silvery-haired and wrinkled, he is clearly a good deal older than we last saw him in DHARMA times. Though as usual, he is wearing a white coat, his left arm stiff, prosthetic. He looks wearied by the years. The picture and audio quality of the video is very good.


DR. CHANG: Hello. I’m Dr. Marlon Chandler, and this is the orientation film for Station 3 of SAMSARA.


We also take a quick note of Jack and Locke as each of them watch the screen.


DR. CHANG: You are about to embark on what may prove to be our most remarkable work since the DHARMA Initiative.


The wearied Chang then proceeds onto the point, trying to keep up a warm demeanor, Giacchino’s musical score getting an air more mystical:


DR. CHANG: One of the greatest mysteries of mankind has been that of the soul.


Jack and Locke’s interest is more piqued.


DR. CHANG: And now, allow me to introduce the head of the Tin Man project, Professor Diya Mishra.


And he turns, and we see as Diya walks onto the screen, wearing eyeglasses and darker clothes. She is carrying an enthusiastic smile.


DIYA: Hello. Here at Tin Man, we will be exploring the potential and pushing the boundaries of parapsychology and computer intelligence, as well as testing the limits of the spiritual.


She continues:


DIYA: It is my hope that, through our studies, we will be able to create a consciousness.


We then see her standing in the large room we saw earlier, the one with the wide fenced hole in the floor behind her.


DIYA: As you are on this project, you will be at work on refining our electromagnetic chamber, through which we hope we can materialize this intelligence.


We then see a shot down the hole, the water looking more clear, with sparkles of electricity visible in it.


DIYA: In our experimentation, we have worked on a number of projects, including networking through electromagnetic conduits.


And then we see a shot of the computer room.


DIYA: Special insulation has been used to protect the more magnetically-sensitive equipment of the station. The results of your electromagnetic manipulation will be automatically detected and logged in the computers.


We then see another shot, this time of a structure marked “RABBIT HOLE”.


DIYA: And finally, our most ambitious yet esoteric project, what we refer to as the Rabbit Hole. A chamber influenced by research of the quantum vacuum. We hope that, under the right conditions, it may allow an observer to explore unimaginable possibilities.


We make a note on Jack and Locke again as they watch this film, processing the convoluted information being unloaded onto them.


Dr. Chang then reappears on the screen:


DR. CHANG: In closing, it is our hope here at SAMSARA that you may find the last discoveries needed to solve this equation:


And the screen shifts to an image of the Numbers: 4 8 15 16 23 42


We see a shot of puzzlement on Miles as he sees these numbers. We also show quick shots on Jack and Locke, who remember those numbers from the Swan computer.


And Dr. Chang adds somewhat urgently:


DR. CHANG: The more years go by, the less time we have, and it is paramount that we find the solution soon.


And he finally concludes dryly:


DR. CHANG: And on behalf of those of us at SAMSARA, namaste.


The screen transitions to a Hanso Foundation copyright for 2000.


One last shot on Miles as he takes this in, though not sure he learned anything relevant – his biggest takeaway was just seeing more of his father’s involvement. And Jack just smiles, looking to Locke, remarking:


JACK: Well, I think we’re gonna need to watch that again.


Locke barely breathes out a slight laugh, and just looks down again, feeling wearied by the years of his unfulfilled ventures into great mystery. Jack’s smile fades a little as well, noticing that Locke does not seem too enthusiastic.


We cut back to Sawyer, as he sits in the dimly-lit shadowy computer room. He hasn’t typed a further message yet. He is just sitting there, pensive on the past. And we wooooooooosh to:



It’s dark and gloomy as rain is pouring down on the windshield, wiped by the windshield wipers, as Sawyer drives his car. Clementine is riding in the back.


And then she abruptly asks:


CLEMENTINE: Is it true you’re a criminal?


Sawyer says outraged:


SAWYER: What?!


CLEMENTINE: That’s what Lane said.


Sawyer sighs, irritated.


SAWYER: No, not anymore.


And then a pause, before he says, with utmost sincerity:


SAWYER: I almost got back into. But I knew it was no good.


We see a shot on Clementine as she takes this in, interested to get to know him more. And we know now, he must have turned down that offer from that shady guy.


SAWYER: And you can’t ever get into that life, either.


As he’s driving, we suddenly hear pops.


With the sound of screeching, Sawyer halts the car to a stop.


SAWYER: Tires popped!


Suddenly, a shadowy figure is at his window. The music heightens with anxiety as Sawyer and Clementine look around, figures standing outside their windows in the rain.


Sawyer opens the glove compartment and starts to pull out a gun, and a hand taps on the window. Sawyer rolls it down slightly with one hand, gun in the other hand. And we hear a raspy British voice:


GALEN: Come now, Mr. Ford, there’s no need for violence.


Sawyer and Clementine both look very apprehensive.


GALEN: We need to chat with you. My people will take Miss Phillips home.


Sawyer starts to move his gun towards the window, but Galen halts him:


GALEN: Mr. Ford, you were head of security for being smart, so be smart now. You stand no chance against us.


As Galen says this, we can see the other man holding guns at the windows. Sawyer, defeated, slowly starts to lower his gun.


GALEN: Your daughter will be fine. What kind of people do you think we are?


We see another shot on Clementine’s terror, and on Sawyer’s own terror, before we cut to —


Inside some shabby restaurant, almost empty of people. Sawyer is being escorted in, along with Galen and his men, including one particularly tough-looking guy with him. And we proceed through the restaurant, we see:


Miles, sitting at a booth near a window. Sawyer is escorted towards him.


MILES: They got you too, huh?


Sawyer sits down next to Miles, forcefully from Galen’s men, and Galen sits and takes the seat opposite to them. The tough guy also sits down next to Galen.


GALEN: I’d ask the waiter to bring us coffee, but we won’t need it.


Galen lifts a gun up over the table, aiming it in the general direction of Sawyer and Miles, both of them sitting tensely.


GALEN: One of the reasons we’re here is because, Mr. Ford, it came to our attention that you were looking into joining law enforcement.


Sawyer shakes his head.


SAWYER: I already turned that down.


GALEN: Well that’s good, because we wouldn’t have allowed you to take us on in the law.


Hostility flares through Sawyer’s eyes.


SAWYER: I know you’re after kids. Got your sights set on Ji-Yeon.


And Galen just admits boldly:


GALEN: We only take children when we need to.


Another flare through Sawyer’s eyes, as well as Miles’.


GALEN: Do we need to take Clementine, to make you toe the line?


The flare continuing to intensely build through Sawyer’s eyes.


GALEN: Or should we take the one you really care about?


Miles seems to be oblivious to Galen’s cryptic remark, and Sawyer starts to lunge, nearly busting the table — but is halted by Galen thrusting his gun forward. So Sawyer restrains himself.


Galen turns to the tough guy sitting next to him, the music beating anxiously:


GALEN: Gregor, you are in charge of the children we have, yes?


Gregor, with a slimy expression on his face, simply nods and says:




GALEN: And you’ve made sure that the children are safe, yes?


And Gregor says slimily:


GREGOR: I have, sir.


Galen smiles.


GALEN: Good.


The music beating lowly, anxiously, still. Galen facing Sawyer and Miles. — And then he turns his gun —




Blood splashes onto Sawyer and Miles as they jump back in their seats, horrified, and we hear the sound of a thud. And Sawyer yells:




The music reflecting the sudden horror. Galen at the seat with the gun, blood splashed on him as well, and Gregor lying dead out of the seat. And Galen says quickly, but calmly and sternly:


GALEN: He had not been at all good to the children we have.


Another shot on Sawyer and Miles’ horrified expressions.


GALEN: I wanted to show you that I am a serious man.


He starts to lower his gun back, as we are still recovering from the shock of the situation.


GALEN: We could use a man like you, Mr. Ford, to police our standard of ethics.


SAWYER: I ain’t workin’ for you people!!


GALEN: Do you remember – what the DHARMA Initiative was working on? That equation?


There is a tone of mystique to the music, and that same mystique seems to flash through Sawyer’s eyes as he recalls what Galen is referring to.


GALEN: We still have a group trying to work on it, but time is running out.


SAWYER: Ain’t my problem.


GALEN: It’s all our problem, Mr. Ford. And you could help keep our group secure.


And Galen turns his eyes to Miles:


GALEN: And it may also interest you to know, Mr. Straume, that your father is there as well.


This strikes Miles.


MILES: You expect me to believe that?


GALEN: You can go and see yourself.


We see another shot on Sawyer and Miles, taking in the danger of everything divulged.


GALEN: We’re going to return you both home, now. Think on it.


And one more shot on Sawyer and Miles, as the music lowers, before we wooooooooosh back to:



We see Miles wandering through the shadowy, dimly-lit station, searching for any possible clues. He comes into the room we saw earlier: the one with the open valve of water and the two bodies lying on either side of the room.


Miles slowly steps through, and he sees the body lying on the right side of the room, the one wearing a white coat.


And he wonders, if maybe, just maybe… He slowly places his hand near the head of the body.


And we hear his mediumship theme playing for a few seconds (0:55 – 1:01). Reading the thoughts of the body, his eyes shut.


And then, with a soft piano key, Miles opening his eyes. He slowly moves his hand away from the body, turning away from it. A soft variation of his theme (1:52 – 2:00) playing for a few seconds.


And we can see in Miles’ eyes now, he knows. Tears welling up in his eyes.


His gaze starts to drift a little, and we see that he notices the other body in the room, the one dressed in the darker clothing. And we perhaps wonder, is he going to read who that body is too? We cut to —


Back at the perimeter of red lightposts, Diya still standing among them, Walt outside looking down. And Hurley, Kate, and Ben near by. It’s nearly sundown.


KATE: I’m gonna run and grab one of the vans.


HURLEY: Where you goin’?


KATE: I think Theodor’s people may have caught Claire. I’m gonna find them.


BEN: Do you really think that’s the best idea right now?


KATE: I’ll get Sawyer and Miles to help me.


And she turns, beginning to leave. And we cut to black:



[Commercial Break]



We’re back on Sawyer in the dimly-lit computer room as he has been thinking. And we hear a mechanical whirring from out of the room — Sawyer looks and sees the ceiling camera in the passage outside has adjusted for a better view.


We then see, from that camera’s “night mode” perspective, as it has a more zoomed-in look on Sawyer, as he is looking wearied, hollowed, trapped.


We’re back in our normal point of view as Sawyer turns back to the computer, and he sees that another message has been left for him:


INITIATOR: How are you feeling?


Sawyer furrows his brow in confusion to this odd question, and he types back:


YOU: Just swell. How are you?


And then appearing next:


INITIATOR: I am sad. I thought you looked sad too.


Now Sawyer looks even more surprised. And he types another message, sending:


YOU: Why are you sad?


And then another second, before this appears, to some of the station’s music theme:


INITIATOR: I feel that a part of me is missing.


Sawyer huffs, and can’t seem to figure out the strangeness of this person talking to him, or how he can convince them to unlock the station. But then he starts to think, that he actually does relate to what was just sent. And for whatever reason, he decides to reply back:


YOU: I know what you mean.


We cut away: back inside the dimly-lit TV room, Jack settles down on the sofa.


JACK: You know, even though I could fall through this, I still feel like I’m sitting in it.


Jack is thinking on the oddness that he seems to interact physically with the sofa. But Locke remarks wisely on the true cause:


LOCKE: It’s in your mind.


Jack nods, thinking on what Locke just said, and he takes notice of the wheelchair Locke is sitting in, a thought going through his mind, perhaps one that he’s had before, but he does not voice it. Instead, he voices another matter:


JACK: Can I ask you something, John?


Locke nods affirmatively, wondering what’s on Jack’s mind.


JACK: I can’t help but notice, you’ve been down.


There’s a soft tone. Locke looks a little resistant to the subject Jack has brought up.


JACK: What’s bothering you?


The soft tone gradually, slowly repeats. Locke lets out a breath, reluctant to engage in this topic, but he decides to get it out of the way:


LOCKE: I just feel stuck here. … And I’m not sure any of this is worth it.


JACK: Why is that?


Locke shrugs a little.


LOCKE: I don’t know. There are two islands. Just seems cheap. This one is…


He looks up around at the station.


LOCKE: Manufactured. It seems like having an Island is nothing special.


Jack nods, though he thinks there is something more rooting Locke’s feelings. And there is a pause – and he decides to break out something he’s never told anyone before:


JACK: I was gonna kill myself.


There is a heavier soft tone of music. And we register Locke’s surprise. And Jack explains:


JACK: When I found out you were dead. Because it felt like a part of me was dead, too.


Locke is speechless. And the Jack&Locke “believer” theme begins to play softly. Jack marvels:


JACK: But, the Island found a way to stop me. I had to help people in a car wreck.


Locke muses as Jack tells his story. And Jack declares:


JACK: And from that day, a part of me knew I was a believer.


And then Jack says with a strong sincerity:


JACK: You did that for me, John.


And we take a moment to see as John is hit heavily by this. And it starts to really sink in for him that his death was maybe not in vain — this is what really is at the heart of his doubts. That his death had a purpose. And then Jack continues:


JACK: I don’t know what it means that there are two islands. But I know ours is special.


The music gets heavier, Locke taking this in.


JACK: You knew the Island better than anyone else, John. Just don’t give up on your faith.


As Jack says this, we can see in John’s eyes that he has some sort of epiphany. The music soft and sentimental, John can only say:


LOCKE: Thank you, Jack.


Jack nods with a smile.


The music quiets into silence as we cut back to Sawyer in the computer room. Deciding to try to reach out through his chat partner through a more personal connection, he types his next reply:


YOU: You got any kids?


A surprisingly fast couple of seconds later:


INITIATOR: I always saw my work as my children.


Another shot on Sawyer, and then back on the screen:


INITIATOR: Do you have any?


And we hold on Sawyer for a moment, as he thinks back, and we wooooooooosh to:



We are on Sawyer as he stands in the midst of a living room. With him is Miles, and before him are Cassidy, Kate, and a man we must assume is Cassidy’s husband. And Clementine is elsewhere on a couch, still recuperating from the traumatic encounter.


Cassidy and her husband have flaring glares at Sawyer. Kate has some mix of empathy for everyone in the room. It’s heavy in Sawyer how much trouble he is in.


Cassidy keeps a cool head, but says firmly:


CASSIDY: Sawyer, you can’t see Clementine anymore.


And we see that it strikes Sawyer’s face. But he knew it was coming. We also see a shot on Clementine. She is not mad at Sawyer but she lacks a surprise to what was coming as well.


Cassidy says firmly:


CASSIDY: We gave you a chance the past decade to be apart of her life. You’ve been gone most of the time you had a chance to spend with her. I don’t know where you’ve been. But you almost got our daughter killed today.


We can see that it’s heavy in Sawyer’s face as he takes this in. Miles stands up for Sawyer:


MILES: This wasn’t in anyone’s control.


CASSIDY: Well, I’m taking control. [Turning back to Sawyer] You’ve always been a crook. I don’t know what you’re after, but it’s gonna get you killed.


We have a shot on Sawyer’s expression, and we hear the soft, tragic notes of Sawyer’s “murder” theme (0:48 – 0:52).


CASSIDY: But it’s not going to be in our lives.


Sawyer takes this in as he looks down to the floor. And he lifts his eyes up, and says with utmost sincerity:


SAWYER: I’m sorry for what I did to you, Cassidy. You and Clementine.


CASSIDY: ‘Sorry’ isn’t going to cut it now.


Sawyer slowly nods his head, and he turns to leave. Everyone can feel the impact of what Cassidy just said to Sawyer. We make a note of Miles’ uncomfortable reaction, as well as Kate’s emotional one.


We hear Sawyer’s normal theme (1:54 – 2:24) as he begins to walk out. He turns and gives one last look to Clementine. She is in tears, and she doesn’t entirely understand this situation, or why her relationship with her real father never took off.


Sawyer gives one last warm smile and a nod, as though to give a silent “good-bye” and a “take care”, a “have a great life”.


She returns the smile, understanding what he means to convey by it.


And we are back on Sawyer as he walks out, walks out on any life with Clementine forever, the music still playing as we wooooooooosh to:



On the computer screen, Sawyer has already sent his reply, while his theme music is still playing:


YOU: I tried to. But I wasn’t any good at it.


Another message pops up underneath:


INITIATOR: I’m sorry.


The music starts to quiet into silence, and Sawyer types out another message and sends it:


YOU: I’m just here to keep the kids safe.


He then writes a follow-up:


YOU: I was offered head of security on this island. I’d rather keep this place safe so my friends don’t get hurt.


And then:


INITIATOR: I want to keep this island secure also.


Sawyer then writes, hoping he can finally reach through to this person:


YOU: Will you let me go? I’ll help keep it secure.


He then turns around and faces the ceiling camera, to show the sincerity in his expression. We see a quick moment of Sawyer’s expression through the perspective of that camera.


And then a moment later, the station suddenly blacks out again. We hear the magnetic hum rising (similar to 5:54 – 5:58) and then the sound of the barriers (4:40 – 4:47) sliding back up into place.


The lights suddenly turn back on again throughout the station, bright and illuminating like they were when Sawyer and Miles first explored. We see Sawyer’s relieved expression.


In the next shot, we see Jack following Locke down a bright corridor as they look around.


LOCKE: I think it’s over.


JACK: Only one way to find out.


And Jack turns and faces the wall to leave. And in the next shot, we see he is gone, vanished from behind Locke.


We then see a shot of the corridor from another angle, and Locke is gone as well.


Back in the now-bright computer room, Sawyer is still sitting at the chair. Miles heads on in:


MILES: Great, you got it fixed!


SAWYER: Did you find out what this station’s for?


MILES: Some goobledygook about spirits and computer intelligence.


Sawyer nods.


MILES: Also, I found my dad. He’s dead.


There’s a soft piano key to this statement. It’s confirmed what we may have suspected in his last scene. Sawyer nods somberly, perhaps realizing this was one of the bodies he saw earlier.


SAWYER: Sorry.


Miles nods, soft beats continuing.


MILES: Let’s get outta here.


SAWYER: One more thing…


Sawyer turns in his seat back to the computer, and types one last message.


YOU: So who ARE you, really?


A couple of seconds pass as we watch Sawyer’s eyes, as he reads what appears next on the screen:


INITIATOR: I am the Tin Man station.


We hear an eerie tone of music to this. And we take a look at Sawyer’s reaction again, one of mystification. Could it really be true?


He then lets out a small laugh. The initiator was right, he doesn’t believe it. He turns, standing up out of his chair, taking his rifle, and turning to leave.



[Commercial Break]



Sawyer and a down-looking Miles are walking through the bright corridor.


MILES: So how did you get them to open the doors?


SAWYER: With a promise.


Miles listens as Sawyer explains:


SAWYER: We’re joinin’ up with Theodor’s people, becoming security again.


Miles comes to a halt as Sawyer is walking, and Sawyer stops next to him.


SAWYER: What is it?


Miles shakes his head, a disapproval in his eyes:


MILES: I can’t come with you.


SAWYER: Why not?


MILES: Because we have no reason to trust these people. They caused a war here.


And then he further adds:


MILES: And because, I read my dad’s thoughts. He wasn’t on their side.


There is an ominous note to this as we hold on Sawyer’s reaction for a moment.


We then cut back to Hurley, standing near the perimeter of lightposts, Walt, Ben, and Diya near by. It’s nighttime now.


In the background, we see Jack and Locke have arrived. Hurley turns his head, seeing the two of them waving him over.


We then get a closer shot on Jack and Locke standing together. While they’re waiting on Hurley to join them, Jack makes a comment to John, recalling on an exchange they had in the TV room:


JACK: By the way, what you said before about sitting being in my mind —


Locke looks to Jack, listening to the point he’s about to make. And Jack makes a surprising comment:


JACK: That chair you’re in, that’s just in your mind too.


We make note of the wheelchair as Locke sits in it.


LOCKE: What?


JACK: Look, I don’t need to be a doctor to tell you that isn’t your physical body.


Locke is surprised and taken aback, though perhaps he himself already realized the truth of Jack’s statement in the past. But he can only say:


LOCKE: Then why am I stuck in it?


Jack smiles, and says:


JACK: I don’t know, John. I’m a surgeon, not a psychiatrist.


Locke then turns his eyes to Hurley, who approaches the two of them.


HURLEY: So how are Sawyer and Miles?


Jack nods:


JACK: They’re doing fine, everything’s fine.


Hurley smiles.


HURLEY: That’s good.


As he’s starting to turn to leave, Locke stops him:


LOCKE: Hugo, I figured out the problem you asked me.


Hurley looks surprised and attentive.


HURLEY: Tell me!


And Locke takes a moment, and we hear his mysterious theme (1:19 – 1:39) starting to play. And he explains:


LOCKE: I think, if you want to hear from the Island —  I’d say you need to show it an act of faith.


Hurley smiles, this is what he needed to hear. But he needs more.




Locke shakes his head honestly.


LOCKE: I don’t know. You’ll find that out sooner or later.


Hurley nods, some mystique in his eyes as he takes this in. We also see a quick shot on Jack as he is glad to see Locke’s confidence in faith starting to return. And we see one last shot on Locke —


And we cut back to the front doors of the Tin Man, opening as Sawyer and Miles come out through them to the nighttime outdoors.


Ahead, they see another van, its lights gleaming, coming to park next to theirs. They approach it cautiously for a moment, before Kate steps out of it.


She approaches them:


KATE: Hey James, Miles.


The two nod to her.


KATE: Everything alright?


Miles doesn’t answer, but Sawyer nods.


KATE: Any sign of how to ‘neutralize the island’?


Sawyer shakes his head.


SAWYER: I didn’t see nothin’ like that.


Kate nods.


SAWYER: Did y’all capture Theodor?


Kate shakes her head, and she points in a leftward direction past their vans.


KATE: I saw a convoy of vehicles meeting out that way. I think they’ve got Claire.


We see this register on Sawyer’s mind.


SAWYER: And you think Theodor is the Monster?


Kate shakes her head.


KATE: I was wrong. It was Diya.


This revelation particularly strikes Miles for some reason.


KATE: If we go now, we can get Claire back.


SAWYER: Wait. I’m joinin’ with Theodor.


Kate is struck with surprise by this.


KATE: Why?


SAWYER: To keep us all safe. If they’ve got Claire, I’ll get her out. You stay with Hugo and don’t get any wild ideas.


Kate’s impulse is to go, but she thinks perhaps Sawyer is right on this. But maybe not right on joining Theodor.


As Miles starts to walk away, Sawyer goes and leans on the hood of the van. And he confesses:


SAWYER: I lied to ya, Freckles.


Kate is surprised by this:


KATE: About what?


Sawyer reveals:


SAWYER: I haven’t been lookin’ for the original Sawyer. He’s been dead. The Others had him on the Island 13 years ago. And I killed him then.


We hear some mix of Sawyer’s normal theme and his “murder” theme as he reveals this. And we see Kate’s surprised reaction, not sure what to say. So she just goes and leans back against the hood of the other van.


SAWYER: That’s why I didn’t wanna have a kid with you.


We hear the music transition into a variation of Kate and Sawyer’s theme (0:14 – 0:23) for a few notes. Kate takes this in, finally understanding.


KATE: Then where’ve you been going all these years? Who were you looking for?


We hold on Sawyer’s expression as he prepares to say, and we wooooooooosh to:



Sawyer standing on a sidewalk, watching a school ahead. We can see that Miles is with him — and also Hurley.


SAWYER: Thanks for coming.


MILES: Hey, I’m with you, man.


We see another shot on the school ahead, as Miles speaks:


MILES: So this is what you’ve been out here doing? Just watching?


Sawyer nods silently.


And then we see, ahead: Juliet’s sister, Rachel, coming out of a car, hugging a blonde-haired boy about age 15, her son Julian.


SAWYER: Juliet’s sister and nephew.


And we start to hear the softer part of Juliet’s theme (0:00 – 0:40) beginning.


SAWYER: I was keepin’ a promise to Juliet.


HURLEY: Have you ever talked to them?


Sawyer shakes his head.


SAWYER: Just makin’ sure they’re okay.


He turns to Hurley.


SAWYER: Can you make sure they’ll be alright from the Hanso people? Rachel, Julian. And Clementine, her parents.


Hurley smiles.


HURLEY: Don’t worry, dude. I’ll have people keeping an eye on all of them.


SAWYER: Thanks.


And we wooooooooosh back to:



We are back on Sawyer’s expression, having just confessed to Kate. And we see a shot on her as she takes it in, in realization. Juliet’s theme (0:42 and onward) rising into heaviness.


He looks ahead, and confesses further, something he has always felt at heart:


SAWYER: The truth is, I never could have been a good dad. I wasn’t a good guy.


And he then says in a softer voice:


SAWYER: But, maybe I could have — if —


His voice is quivering, as his eyes well with tears. And we can see Kate receiving this empathetically.


SAWYER: Juliet made me good.


Tears rolling down out of his eyes, and Kate tearing with him as well.


SAWYER: I’ve been dead all these years without her.


Sawyer, teary-eyed, turns to face Kate:


SAWYER: Does it feel like that with you, about Jack?


Tears coming out of her eyes, Kate nods a yes.


KATE: It does.


Sawyer sniffles, and turns to leave, heading on off towards his next destination, leaving Kate alone at the vans. The music settles to a dramatic conclusion.


A convoy of vehicles, brightened in the darkness with their lights, and several men rushing around them. Sawyer approaching them, music playing ominously and lowly in transition from Juliet’s theme.


Sawyer approaches the back of one vehicle, as it sits with its motor running, and its back open. Inside, we can see Foster standing near Theodor, who is laying on the bed with the bleeding rag on his leg.


SAWYER: Theodor!


Foster reaches and points a gun at Sawyer.


FOSTER: Stop right there!


THEODOR: It’s alright, let him come.


Sawyer steps into the vehicle.


SAWYER: I’ve agreed to your offer. I’ll join as your security.


And we see a smile grow on Theodor’s face.


SAWYER: But I ain’t handing you Hugo! I’ll help you settle this war with Diya.


Theodor nods, agreeing to his terms.


Sawyer moves in closer, Foster stepping aside, and he sees Claire laying on the other bed, her eyes struggling open, but not quite lucid.


CLAIRE: James…


Her eyes shut again. And we see Sawyer’s expression of concern.


And Theodor darkly remarks:


THEODOR: She’s got a serious infection. But we can see what we’ll do to help her.


Sawyer nods, the music still ominous.


In the next shot, we see Sawyer exiting — and Miles suddenly emerging.


SAWYER: Miles! What are you doing here?


Miles says firmly:


MILES: I’m coming with you. But I’m not joining you.


Sawyer sighs.


SAWYER: Well, come on.


They start to approach one of the vehicles to enter it, empty and vacant for now.


SAWYER: We’re just waitin’ on all their people to regroup.


Miles nods. And he asks something that has piqued his curiosity:


MILES: I keep hearing about some equation DHARMA worked on. Know anything about that?


We turn to Sawyer’s expression. And he knows to what Miles refers, but is not sure what to make of it.


SAWYER: They founded DHARMA to try and solve some numbers. Four, eight, fifteen, something or other.


We hear a mystical note to this. Miles listens intently. And Sawyer states ominously:


SAWYER: Supposedly, those numbers represented how much time was left until the end of the world.


There is a dark note of music to this.


MILES: Do you believe that?


Sawyer shrugs. Then we cut to —


A shot of the front of the Tin Man station. And then in the next shot, we are inside the station. The lights have dimmed again.


And we now see Locke, standing in his darker persona, as he walks through a shadowy corridor of the station, looking around coldly, emerging into a room.


We see that this room has a round structure protruding up through the middle of the floor, on top of it a slab of metal that might remind us of the Swan Station’s hatch. Marked on the structure is the title: “RABBIT HOLE”. We hear the Tin Man theme particularly ring to this scenery.


He holds his hand over the structure, and we can hear a low magnetic hum (perhaps stopping him from going through it.) And then he pulls back from it.


We hear some eerie music as we hold on Locke’s dark eyes for a moment.


— And abruptly, in the next shot, we are now following Locke in his white persona, rolling his wheelchair down another dimly-lit corridor, emerging into the computer room. Music still beating softly, lowly.


He approaches the computer out of curiosity, perhaps out of some nostalgic remembrance of the Swan computer.


And as he gets closer, he comes to a halt in the shadowy environment. The music is heightened in its eeriness. We see something has deeply struck him and shocked him in his eyes.


We then see on the computer screen: our view scrolling down the chat logs of Sawyer’s conversation with the Initiator. And below the last message in their conversation, is a new one:


INITIATOR: Hello, John. I can see you.


And we hear a very low, haunting few beats of music. (Perhaps similar to 5:20 – 5:23.)


We are on Locke’s expression again. His mouth is open in shock. We hold close on his startled eyes for a slow, haunting moment.


And then:


INITIATOR: I have a message from the Island.


And we hold on Locke’s stunned expression, his eyes shining with a haunted mystique in the shadows of the room. We hear some heightened, rushing audio effect (3:24 – 3:28) from the music.


And we cut to black —


And with a quick thud —




[End Credits]

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