Lost – Season 7, Episode 6: “Paradise Lost”



[From 6.05 Lighthouse, the Man in Black in Locke’s form, smiling while entering into Claire’s hut, and a mentally-scattered Claire remarking in amusement. Eerie music playing throughout the sequence.]


CLAIRE: That’s not John. This is my friend.


[From 6.17 The End, Kate and Claire on the beach.]


CLAIRE: This island’s made me crazy. […] I don’t know how to be a mother anymore.


KATE: You’re not alone. Let me help you.


[From 2.21 ?]


MALKIN: I’m a fraud. […] I make my living as a psychic.


[From 1.10 Raised by Another, voicing over with shots between Malkin’s urgent expression and Claire’s freaked out expression]


MALKIN: This child, raised by anyone else… […] Danger surrounds this baby. […] Your goodness must be an influence.


[From 3.21, voicing over with shots of Charlie leaving the DS ring in Aaron’s crib.]


CHARLIE: All right turnip head, now you take care of your Mum while I’m away, okay?


[From 7.01 Another, Galen handing out his “Hanso Foundation” business card.]


GALEN: My business card…


[From 7.03 Death’s Hand]


JACK: I still haven’t found my father.


[From 7.05 Hollowed Hearts: the computer screen with “INITIATOR: I have a message from the Island.” And then a shot of Locke’s mystified reaction.]


Episode 7.06: Paradise Lost



Our episode begins close up on Claire’s frightened blue eyes. We then see her hair is ratty and dirtied, she is holding a rifle, and she is standing in the midst of a lush green jungle, yet it looks frighteningly dark and haunted somehow. The music also reflects that tone.


And now we see that ahead of her, she is facing a captured Other in dirtied, tattered clothing who is tied to a tree and gagged, and horrified. We recognize that this Other is Harper Stanhope.


Claire is standing anxiously, hesitantly with the rifle. And then from the side of the screen, we see a figure coming into view next to Claire: It’s Charlie Pace?! But he looks darker somehow in his gaze, his clothes are a dark gray. We may strongly suspect that he is in fact not the real Charlie. And he reaches his hands to help Claire in her aim of the rifle.


“CHARLIE”: Hold it like that. And fire.


But Claire is very hesitant. The music beating more tensely.


CLAIRE: I- I can’t.


Harper whines a little in her gag.


“CHARLIE”: You already took her when you escaped the Temple. You just have to finish it.


Claire says in a terror:


CLAIRE: Please, I don’t want to kill anyone.


But this apparition of Charlie is adamant:


“CHARLIE”: They took Aaron, just like your father told you.


And then he says more forcefully, almost angrily:


“CHARLIE”: If you don’t let your anger loose, you’ll never get him back! Don’t make me force you.


The music escalating more anxiously as Claire holds her rifle tensley. We see one last shot on Harper, tears in her eyes as she whines through the gag.


And then we see Claire’s eyes, as the fear in them almost seems to be overtaken by a dilating rage, a darkness — and then we hear a gunshot. And then Claire’s eyes seem to recede back into the fear they were in before. And then a deepening depression. The music spirals darkly downward.


“CHARLIE”: That was good, Claire, that was good.


We see Harper’s dead body bleeding from the tree. And we see as Claire just stands, frozen with horror of what she has let into herself.


And then “Charlie” whispers in a reassuring tone:


“CHARLIE”: Trust me, Claire. Who am I?


And then Claire says, as though to reassure herself of something they’ve discussed before:


CLAIRE: You’re my friend.


In the next shot, we see Claire is now outside the hut she built some time ago. She is sitting in a chair, near a bonfire pit in the ground. Laying next to it is a boar skull. And we see Claire is staring darkly at it. It is becoming something in her mind. A low, softly haunting piece of music playing, maybe resembling a variation of one of Claire’s themes.


Her stare is broken as “Charlie” suddenly emerges onto the scene again. And he compliments:


“CHARLIE”: You’re getting better. Jacob’s people won’t stand much chance against you in time.


CLAIRE: I can’t fight your war for you alone.


“CHARLIE”: Don’t worry. I’ll start to get more recruits after I make myself look like John.


At this point, there should be no question for us that Charlie here is the Man in Black. He takes a seat in another chair. And Claire finally asks something that has long been troubling her:


CLAIRE: What happened to John? And my other friends?


And “Charlie” explains:


“CHARLIE”: When the sky lit up, they got swept from this time.


CLAIRE: Why wasn’t I?


And the Man in Black says, in a kindly tone, though one that seems to mask darker intentions:


“CHARLIE”: I kept you here. Kept you safe.


Claire thinks on this – for a second almost wondering if it truly helped her, but she quickly dismisses the thought. And the Man in Black continues:


“CHARLIE”: Unfortunately, Jacob also kept his people here for his own manipulations.


And he looks to the boar skull next to the bonfire pit, and at last states:


“CHARLIE”: And the Island kept the rest.


And then he looks at her more severely, and asks:


“CHARLIE”: So, Claire, will you be able to kill again when the time comes?


And with a hauntingly low drone of music, the camera holds close on Claire’s expression, shadowed darkly under the trees, and she just nods slightly, agreeing to the continued succumbing to darkness.


And we wooooooooosh to:



We now see Claire laying on a bed, her eyes barely open with consciousness. There is a sense of movement around – we are inside a vehicle.


On the other bed is Theodor, holding his hand at a bloodied rag on his leg. He is watching Claire with a calculating stare, thinking on her condition, as the vehicle is moving.


In the next shot, we see the full convoy of vehicles driving, their headlights shining ahead through the night, as we hear the music suspensefully raised high. Stars shining down on the environment. All around, we can see enormous amounts of unused industrial equipment or buildings. On this islet, there are no signs of nature or wildlife anywhere.


The convoy of vehicles keep moving, and in the next shot, we see a barrier of lightposts ahead, all of them flashing a red light. The vehicles drive in a space between two of the lightposts as they venture closer towards their domain. And we cut to —


Elsewhere, the headlights shining from a SAMSARA van, as it pulls up and slows to a stop. The door opens, and Kate steps out, shutting it behind her. And she proceeds ahead as the camera pans to show us where she has returned to:


Up ahead, a perimeter of red lightposts, Diya still standing in the midst of them. Near by, Hurley, Ben, and Walt standing.


KATE: James and Miles went to join Theodor, they’re gonna see if Claire got taken.


Hurley’s expression dims a little to this, a dimness then reflected in Walt’s comment:


WALT: Why would they join him?


KATE: Got an offer – I think they’re gonna try to police SAMSARA.


HURLEY: Well, if it stops anyone else from gettin’ hurt…


Hurley tries to remain optimistic, though it’s clear he can’t help but feel a defeat in his own efforts to bring peace.


WALT: Where are they going next?


Kate shakes her head a little, not knowing. And then they hear from near by –


DIYA: Likely to the Garden!


They all turn to see Diya. We especially take a note on Walt’s glance. He is still hurt and distrusting towards her.


HURLEY: You mean that place you showed us the other day?


Diya shakes her head, thinking it’s something quite the opposite of her garden, a lively place of vegetation:


DIYA: No, it’s a station.


Ben then remarks:


BEN: It’s late now. We need to go get sleep.


KATE: What about her?


She nods in Diya’s direction. Diya still ever watchful, listening gloomily from behind the lightposts.


BEN: I don’t think anyone on this island would release her.


Walt adds with a dark tone of voice:


WALT: We’ll just leave her there through the night.


Kate nods. And after we take a couple of moments for each of the four to nod in agreement, they start to head back towards the van.


In the next and final shot before the break, we’re focused close up on Diya as she watches them leaving, watching darkly, left behind in her flashing red prison. We then cut back to —


The convoy of vehicles again, elsewhere, now slowing to a stop. And then doors are opening everywhere, some chatter breaking out as everyone opens their doors and steps out, getting straight to work, many orders being barked by the surly Garrow. In a shot, we also see a backdoor opening to reveal Sawyer and Miles from inside an armored vehicle. They come to step out.


In the next shot, we see Theodor being carried across on a stretcher by several of his men, Foster accompanying closely.


In another shot, we see Claire being dragged, held under her shoulders by two of the troops. Sawyer and Miles watch closely and carefully to make sure of no ill-treatment.


In the next shot, we see all of the group venturing ahead: the ocean, darkly-lit under the night sky. There is a somehwat short bridge leading out across it, leading to what looks like some building sticking up out of the waters.


Arriving at the large doors at front, one of the men activates a switch, and in the next moment, the doors slide open, leading into a large compartment brightened with lights, perhaps an elevator. Large enough that they are able to bring Theodor in on stretcher, as well as dragging Claire in simultaneously.


Sawyer and Miles start to head for the doors, but Foster holds out a hand halting them.


FOSTER: Wait your turn!


THEODOR: No, let them through!


So Foster lowers his hand, Sawyer and Miles barely making it in. And the doors slide closed, leaving a significant portion of Theodor’s men still waiting outside. And then everyone in the room feels as it begins moving, mechanically groaning as it begins to descend.


And we see a last shot on everyone in the room as the elevator descends, the music still beating with suspense.


And we cut to black —



L O S T OPENING LOGO – it’s reversed



[Commercial Break]



We see Claire standing together with Kate outside an apartment door. Claire looks cleaned up by this time period, though we still sense a burden of trauma in her being. An anxiety at what’s ahead.


[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Raymond J. Barry, Susan Duerden, Jared Harris, Nick Jameson, Andrea Roth, 5 undetermined guest actors, 5 undetermined guest actresses. Special Guest Star Dominic Monaghan, Special Guest Star Sonya Walger. The rest of the credits also listed.]


Kate is more warm and reassuring to her, taking her hand:


KATE: Everything’s gonna be fine.


Claire nods doubtfully. And Kate rings the doorbell.


A moment later, the door is answered — opening to reveal Claire’s mother, Carole Littleton.


And we hold on the two for a moment, Kate subtly putting some distance to give them room. The music building softly — Claire and Carole have not seen each other in almost eight years, first separated by Carole’s coma and then by Claire’s plane crash. Neither having thought they would see the other again, at least not until recently.


And the music becomes heavier as daughter and mother embrace each other in tears. The music is some variation of Claire’s “Thinking Clairely” theme. Claire can feel another piece of stability returning to her through this.


And she says, through tears:


CLAIRE: I’ve missed you, Mum.


We see the two continue to tightly embrace, tears rolling from their eyes. We also see a quick shot on Kate, teary-eyed as she watches them.


As Carole is hugging Claire tightly, she says:


CAROLE: Someone is waiting for you.


And we see an anticipation in Claire’s eyes, one that can’t be entirely put into words, some love, excitement, and fear or dread.


In the next shot, we are inside the apartment building. Kate is proceeding ahead to the couch, where a blonde toddler, Aaron, is sitting watching his cartoons. He turns and sees Kate:


AARON: Mommy!


He gets up and dashes to embrace Kate, who embraces him, picking him up. The music still softly beating.


Kate says softly:


KATE: Aaron, there’s someone I want you to meet.


The boy looks puzzled and just more focused on his mother, as she takes him. Near the front of the apartment, Carole and Claire are waiting.


And we hold on Claire as she watches. The music getting heavy again, as we can now hear a variation of Claire’s Theme “Thinking Clairely” (0:36 and onward) more audibly. Claire is soaking this moment in — this is the baby she lost years ago, before she lost her mind. Though he has grown into a toddler now. But she can recognize his face. He’s hers – though his own eyes do not return the recognition.


KATE: Her name is Mommy too.


The music heavier, Claire almost seems as though she may burst from the emotion of these reunions. Though she is hesitant, not sure what to —


KATE: I think she could use a hug.


So Kate slowly, gently hands Aaron to Claire, and she takes him in her arms, in an embrace. Aaron’s nervousness calms to her hug. There is almost a flash of light in Claire’s eyes now through her tears as she weeps with a joy. And she just whispers:


CLAIRE: I love you.


And her mother, Carole, is also teary-eyed near by. As is Kate.


And we hold on this moment for a good while, Claire finally reunited with her son, embracing him, the music heavily playing.


And the music softens to a silence before we wooooooooosh to:



Our vision is blurry – we can make out some sort of metallic, dimly-lit ceiling, shifting around unfocused in our sight, as it becomes clearer.


And then it’s clear this is Claire’s vision – we see as her eyes are opening wide, as she is becoming more lucid again. We are in a dank room, and she is laying on a bed. And sitting in a chair near her is Miles. There is a low sound from around the room, perhaps indicative of water. Though still a bit dazed, she is able to speak:


CLAIRE: Miles, where are we?


Miles watches her, concern in his eyes.


MILES: The SAMSARA people took us in their station.


Claire asks in dazed confusion:


CLAIRE: Why are we here?


MILES: They said they might could help.


In the next shot, we see Theodor on a white-sheeted bed, in another, similarly dank room, elsewhere in the station. There are similar beds near by along with medical equipment, indicative of some kind of sick bay. There is a porthole on the wall, water visible on the other side. The bullet wound in Theodor’s leg now appears stitched. Near him is a woman around her 40’s (actress indeterminate) in a white medical uniform and eyeglasses with a caring and professional demeanor. She looks pale and somewhat withered.


THEODOR: Thank you, Dr. Horvath.


The doctor, Horvath, nods to him.


Standing near her is another woman, with graying blonde hair, one recognize from a previous episode: named Belle. She has concern for him in her face and tone.


BELLE: You alright, Theodor?


He nods. And then he says, with some calm resolve:


THEODOR: It’s time to test the procedure.


In the next shot, we hear music elevated though low with suspense. We see a room with a very large round opening in the middle of its floor, like an empty pool, mildly deep enough to step down into, with what looks like a large round mechanical outline of some kind in the floor of that pool. On the walls are logos featuring the black silhouette of a fruity tree.


Gathered around are a few members of SAMSARA, some of whom we’re familiar with: Foster, and Belle and Dr. Horvath who are both helping Theodor into the room as he walks on crutches, limping from the wound in his leg.


We also see a woman with a more Pacific ethnicity entering into the room, also in her 40’s (actress indeterminate). Though she too looks pale and withered as many others here do. Alongside her, Sawyer is also emerging.


Theodor turns towards the Pacific-ethnic woman, nodding and remarking:


THEODOR: Dr. Akamu, get it started.


The woman nods as she proceeds to a control panel of some kind, adjusting controls on it.


SAWYER: What’s goin’ on in here?


Akamu, operating at the controls, remarks:


AKAMU: As our new security, here’s your chance to see just what we actually do down here.


Sawyer goes and stands near Foster. Theodor examines the empty pool, standing in his crutches. He has a driven expression in his face. Whatever this is, it’s very important to him on a personal level.


The music rises with some mystique, as the procedure begins. And then with the sound of a low magnetic hum (similar to 5:54 – 5:58) from the floor, we then see water begin to flow into the pool, filling it up.


Horvath, still upholding Theodor, advises:


HORVATH: You’d be better resting. I can’t recommend this.


THEODOR: We have to keep trying.


Sawyer looks none the wiser about what this procedure is. The pool looks more full now, and we’re maybe reminded a little of the Temple spring, though the water is clear.


Theodor hobbles out of the grasps of Dr. Horvath and Belle, and proceeds over to the pool. He drops the crutches aside, and then stumbles forth into the pool with a SPLASH.


And then, in the ripples of the water, amidst the magnetic humming we can hear, Theodor lifts his face from the water. And from the control panel, Dr. Akamu instructs:


AKAMU: Based on our projections, you should wait 2 hours.


Theodor nods, with reservation but a hint of optimism. Sawyer not sure what to expect.


In the next shot, we are back with Claire sitting on her bed, she is now more conscious than before, though visibly anxious, still taking in the reemerging turmoil of recent events. And pondering in thought.


MILES: I’m gonna check on Jim.


Miles starts to head off. And Claire idly remarks, her eyes deep in thought:


CLAIRE: I wonder how he’s doing.


Miles pauses for a moment, but realizes she is not talking about Sawyer.


CLAIRE: Aaron…


And we hold on her expression for a moment, before we cut away —


— With the sound of a low bong, we now see the first Island. The camera is getting a distant, magnificent view of it, showing us the lively green ridges and jungles, the Island in all its majesty. It’s daylight with clear weather.


We are now at the Barracks again, the yellow houses standing as they always have. We can hear the noise of wildlife in the background. Sitting at a picnic table is a boy who is blonde-haired and blue-eyed very much resembling his mother, Aaron Littleton, age of 12. He seems to have that same dark stare that we’ve seen in Claire lately.


Walking up to next to him is his grandmother, Carole. She now looks more wrinkled and silvery-haired than we last saw her. She sits next to him with a warmth in her tone:


CAROLE: You alright, Aaron?


Aaron nods silently, though we may wonder if something more is going on.


– And then suddenly, emerging near them in her long dark hair, an Asian girl near the same age as Aaron: it is Ji-Yeon. Something seems to be on her mind.


JI-YEON: Can we go to the beach?


Aaron and his grandmother turn their attention towards them.


JI-YEON: My grandmother said I could go if someone came with me. She’s resting.


Carole nods.


CAROLE: You want to go, Aaron?


Aaron nods, though he doesn’t seem any warmer than before.


AARON: Sure.


JI-YEON: Where’s Charlie?


CAROLE: I think he went for a stroll with his mum and dad.


– In the next shot, we are in the midst of a vibrant green forest. It seems to burst with life, and we can hear the ambient noise it naturally makes. We see Desmond strolling through, alongside his wife Penny and son Charlie. Some enchanting music is softly beating.


PENNY: You know, it’s not all that bad here.


She says this as someone who’s heard many stories about the terror of the Island. And Desmond nods, seeming to agree. He’s finding himself more drawn to this place again than he was more than a decade ago.


CHARLIE: What’s this?


We see a piece of some crumpled paper on the grassy ground, Charlie reaching to pick it up. He opens it, and it is torn and dirty. And he begins to read it:


CHARLIE: “To whom it may concern, we are the survivors of Oceanic Flight 815.”


Desmond reaches to take it, hit with a surprise – and remembrance for seagulls.


DESMOND: I remember this.


He looks at the torn note.


DESMOND: It was a message that Claire and Charlie – [glancing to his son] – who you were named after, tried to send.


The three are now at a pause in their walk, and we see Desmond’s eyes reminiscing, grinning with a nostalgia – but then slightly frowning with the same nostalgia. The music seems to reflect his process of nostalgia as well. An idea suddenly overcomes his mind.


DESMOND: Hey, let’s visit the beach camp. What do you say?


Desmond looks to his wife and son, and they give no objection. And we cut 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 of the four islets pointed towards the central gulf. It’s still in the dark of early morning on this island.


In the next shot, we are back at the pool inside the Garden station. In Theodor’s eyes, he looks to be calculating things in his mind as he always is, for this seems to be his default perspective of the world, always analyzing.


Near, Dr. Horvath is standing by waiting, the only one still here. And then, we see as Dr. Akamu reemerges back into the room. Sawyer following behind.


AKAMU: It’s time.


And Theodor addresses her by her first name:


THEODOR: Thank you, Eva.


She nods with an amiable smile. And Dr. Horvath reaches a hand down to help Theodor out of the water.


HORVATH: LaFleur, I need your help.


SAWYER: It’s just ‘Ford’.


Sawyer heads and reaches to help Theodor with her, water splashing onto the floor as he’s pulled out of the pool, his dark clothes soaked and dripping, as he turns over for them to get a clear view.


AKAMU: Well?


And we see a clear shot of Theodor’s leg, as he observes in the background of our frame: the wound doesn’t look any different. And we can see a frustration and disappointment in his eyes. He lets out a bark of anger.


HORVATH: No change.


The music is beating low and slowly. It is perhaps some variation of Theodor’s Theme. And we can see that he is trying to process in his mind what went wrong.


THEODOR: What are we missing?


Sawyer quips:


SAWYER: I’m missin’ the whole point.


HORVATH: If successful, his wound should have shown some healing.


There is another mystical tone to this. Sawyer seems a little familiar with this phenomena, perhaps remembering the Temple, but he says nothing.


Theodor, his tone regaining composure, says:


THEODOR: We’ll just have to think of something new. … Now, get me to my office.


HORVATH: You need rest…


But Theodor simply shakes his head in reply: he’s not going to argue, but he is going to do what he feels driven to do. Music still lowly playing.


Horvath sighs to his stubbornness. And she starts to help him up under his arm, Sawyer taking his other arm. The two then reaching for the crutches laying on either side of them, giving them to Theodor.


We hold one last shot on Theodor as he stands in his crutches, turning. He looks calm, but determined.


The low music heightens slightly, to a finish. And we cut to black.



[Commercial Break]



We are now in a hospital room. We can hear the sounds of a heart monitor gradually beeping. And a low, soft beat of music slowly playing, evoking sentiment. Laying on the bed is a silver-haired old man with tubes hooked up to him. He looks very withered and aged. On closer look, we may recognize that it is Jack’s grandad, Ray Shephard.


He has a kind glimmer in his eyes as he looks up, smiling at someone who has just come into the room. And we soon recognize who that person is:


CLAIRE: Hello. I’m sorry we haven’t come to see you before.


RAY: That’s alright. It’s nice to finally see you.


And we also see that Aaron is with Claire. By now he’s about age 12. And he bears that notably dark look in his eyes. He is quiet. While Claire is warm and kindly. We get the impression that her mind seems to have healed some over the past decade. She looks more comfortable.


CLAIRE: Can I get you anything?


RAY: That’s alright, I’m on my way out soon.


And then he chuckles:


RAY: I always said I’d get out of that retirement home.


We can see a regret in Claire’s eyes, a regret that she is losing more family, more family that she never knew.


RAY: Until then, I just watch the Red Sox.


And we see a quick shot on the TV hanging up on the wall, an on-going Red Sox game featured on it. Claire then thinks to ask something on her mind:


CLAIRE: Did… Christian, ever mention me?


Ray blinks, similar as one would nod a “yes”.


RAY: I told him he should be in your life.


And then he adds:


RAY: But he always hid from his guilt. Drank it down with a bottle of scotch.


As we look back on Claire’s reaction, we notice near her, Aaron is behaving strangely. He has his hands over his ears, and seems to be slightly writhing in his body. He is staring down, not focused on his surroundings.


CLAIRE: Are you alright?


But Aaron just seems to writhe more, though quietly so. Worry begins to flash into Claire’s eyes. Glancing quickly to her grandfather:


CLAIRE: Excuse us a moment.


Ray remains warm in his expression as he watches them step out.


In the hallway, Claire takes Aaron aside.


CLAIRE: What’s wrong?


After a few moments, Aaron’s writhing seems to slow to a stop. He slowly lowers his hands and turns his face back up to face her. He seems icy in his stare.


AARON: It’s over.


Claire asks calmly but with a deep concern:


CLAIRE: What happened?


Aaron looks nervous to say, and he just shakes his head.


AARON: It’s nothing, I just feel sick. Can I go in the car?


Claire can see there is something more going on. But she just nods.


CLAIRE: Be safe.


And with a last shot on Claire’s concerned face, we wooooooooosh to:



Claire’s eyes are pulsing with a dark alertness. We are back in the dank, dimly-lit, musty room she is being held in. She is sitting on the bed still, with Miles still absent. At the end of the room is a door.


As she’s watching it, she slowly starts to wonder – did Miles lock her in when he left? Or could she break free? She quickly starts to get up, proceeding over to the door. And she places her hands on the lever to open the door –


– But before she can, it suddenly twists itself out of her grasp with a squeak. And the door opens, Miles coming through.


MILES: Were you about to break loose?


He closes the door back, twisting the lever closed.


CLAIRE: I was.


Miles turns back, looking surprised as he heads for his chair.


CLAIRE: So you didn’t lock it?


MILES: Well, I don’t believe in locking friends up.


Claire nods. It’s at least nice for her to know she has allies loyal to her.


CLAIRE: Where’s James?


MILES: He’s checking this place out.


And we cut away –


In the next shot, we follow Sawyer as he wanders through the corridors of the dank, confined place. We can hear the low sound of water and marine animal sounds through the station. Sawyer comes to a stop at a porthole on a wall.


He takes a moment to watch through it, appreciating the view of the ocean. And as he’s doing so, we see a hammerhead shark swim past. (If you pause the screen and zoom up close, you would notice an octagonal logo near the tail of the hammerhead.)


Sawyer steps aback at the sight. And then we hear a commotion in the distance, Sawyer’s attention turning towards it. He heads away to spy on whatever it may be:


Sneaking up on the passage, it comes to our view who the two arguers are: both of the tough elites. Their head of security, Foster, and facing him is the bulkier Garrow who has a more military uniform. The music beats lowly with some soft tension.


GARROW: They’ve got her captured. We need to move now!


FOSTER: Your men are still recovering.


Garrow says firmly, aggressively:


GARROW: We should have finished this years ago.


FOSTER: You’d be dead by now.


And Garrow says, with a perhaps threatening tone:


GARROW: So will you, if you don’t loosen your grip.


Foster gets closer, strong in his stare:


FOSTER: Is that a threat? Because I can have the firing squad on you now.


We get a shot on Sawyer’s apprehensive expression as he watches the heated argument. And then we see Garrow again, his demeanor relenting.


GARROW: It’s no threat. It’s what’s coming if you hold back strength.


Garrow turns to march away. Sawyer scampers away. We cut away –


In the next shot, we are back with Theodor in his office. He is wearing eyeglasses, seated at his desk near his typewriter, though not facing it. Rather, he is facing Belle, who is also in the room. The two have been deliberating in discussion.


BELLE: How’d you convince them to keep the blonde locked up?


THEODOR: I told them we might help her. Of course, we haven’t begun to study her.


And then a pause, before remarking:


THEODOR: But I really want us to focus on completing the procedure first.


BELLE: If you keep her locked up too long, they’ll get suspicious.


As Belle is saying this, however, we see an epiphany slowly dawning on Theodor’s face. And then a smile.


THEODOR: That’s it. We need to try it on her.


He grabs for his crutches and lifts himself up.


THEODOR: Thank you, Belle, this was what I needed to hear.


She replies with a smile as he moves:


BELLE: That’s why I’m your advisor.


We cut away: and in the next shot, we are back on Sawyer. He is entering into a room of screens and old 90’s computers. Sitting at the panel is a short thin puny man, one we saw briefly in a previous episode.


SAWYER: Hey, do these get camera feed?


The puny man turns, and he has an amicable demeanor.


COMPUTER MAN: Hey, you must be that new co-security chief. I’m Gaughan, communications.


He holds out his hand and Sawyer takes it to shake. And then he nods:


GAUGHAN: Yeah, I can put up the feed. You looking for something in particular?


SAWYER: Just checkin’. Saw two guys – Rocky and Drago – havin’ a match a minute ago.


Gaughan chuckles and nods, knowing the reference, and identifying who he’s referring to.


GAUGHAN: Yeah, as you can probably tell, it’s no paradise down here. More time goes by, more we break down. But I just keep at my thing here, and I get along.


Gaughan presses keys and switches, putting the security cameras’ feeds up on the screens.


SAWYER: Why stay here?


GAUGHAN: Well, we’re stuck on this island now.


There is a slight musical note of mystification. But Sawyer decides not to press this question, but instead returns to his first point:


SAWYER: So what’s the deal on those two?


GAUGHAN: Foster and Garrow? Well, the former was in charge of the security team back when I joined.


And then he adds:


GAUGHAN: And then later, the mercenaries were hired.


Sawyer takes this in, and remarks glumly:


SAWYER: Mercenaries.


We then notice up on one of the screens, Theodor hobbling into this very room on his crutches. Sawyer turns, and we see Theodor coming in person.


THEODOR: Ford, come with me.


We cut away: and in the next shot we are back with Miles and Claire, as they sit idly amid the ambient sound of water and marine life. Claire has a look of surprise, having just learned something through conversation:


CLAIRE: I can’t believe it’s her.


Miles nods.


CLAIRE: She seemed passive, not something I attribute to a smoke monster.


MILES: I don’t know…


And then he reveals:


MILES: She was the last thing my dad saw, the moment he died.


There is a darkly ominous tone to this. And we cut away:


We are now on Diya. She is laying on the ground, her eyes shut. It’s sunrise now. And we see flashes of red still, from the lightposts surrounding her. She’s then woken by a voice:


KATE: Didn’t think you need sleep.


Kate is standing outside the perimeter now. She is back today. And Hurley, Ben, and Walt can be seen further in the background. Kate’s body language is hostile, though her eyes seem somewhat softer with a thought.


Diya starts to pick herself up, remarking:


DIYA: I like to dream.


Kate decides to ask something:


KATE: You got kids?


Diya shakes her head, and replies conversationally:


DIYA: No. But my father always wanted me to have them.


Kate nods.


DIYA: I did study children with special talents. But I was distant.


We see a flash of something in Diya’s eyes. A regret. Perhaps thinking she didn’t take the right path. Maybe she should have just stayed home.


KATE: Is that why you took a liking to Walt?


We register a flash of surprise on Diya’s face, the music softly reflecting it. And Kate gives a brief glance in Walt’s direction.


DIYA: I wasn’t studying him.


Kate figures this, but it’s not her point. And she observes her interpretation:


KATE: You were looking for a kid you never had.


Diya is further surprised by this, and almost scoffs this psychoanalysis off. Though she begins to think – maybe it’s true. The music remaining soft. Her gaze turns towards Walt as he talks to Hurley and Ben in the distance.


In the next shot, we are there with the three of them, and the music is silent again. Ben and Walt observe Kate and Diya ahead, and we make note on Walt’s particularly distrusting face.


On the other hand, Hurley is turning to face Jack and Locke (in wheelchair) near him.


HURLEY: Whadda you guys think about Lady Monster?


Jack nods:


JACK: A far cry from the other one.


Locke doubtfully replies:


LOCKE: I dunno that I’m the best judge.


Locke then asks Hurley:


LOCKE: Had any more ideas on speaking to the Island?


Hurley is silent, and we see him thinking on John’s question in his mind. He gives a slight nod, a “maybe”.


Locke nods, and then turns to Jack.


LOCKE: In a little bit, I’d like to talk to ya about somethin’.


There is a tone of mystique to this. Jack nods in agreement. And then we cut away —


— We are back in the station, Claire and Miles sitting idly together. We hear the lever cranking and the door opening again, drawing their attention: Theodor is stepping through in his crutches, closely followed by Sawyer, who we note is holding a bottle of liquid.


Claire’s eyes make a sharp note: we see the pockets of Sawyer and then of Theodor. Both sets of pockets seem empty of weapon. And Claire turns her attention up to them.


THEODOR: May I sit?


Claire doesn’t object, and Theodor hobbles over to the bed, sitting at the end of it. We hear the door shutting back, before Sawyer goes to stand with the group.


And facing Claire, Theodor says:


THEODOR: I’d like to make you an offer. We can help you, if you give us something in return.


Claire looks disbelieving to this, and she turns to look for Sawyer’s reaction. He just gives a nod of approval to what Theodor said.


THEODOR: We’d like Hugo Reyes.


Sawyer fires:


SAWYER: No Hugo.


Theodor glances at Sawyer, and then adds:


THEODOR: Not against his will, just to work with us. We got off on the wrong foot before.


Sawyer sighs and rolls his eyes. Claire looks disbelieving still. We also get a shot on Miles’ reaction.


THEODOR: But, if that’s too much to ask. Then we’d just like you to help us procure Diya. Which shouldn’t be hard now as you’ve trapped her.




THEODOR: She’s responsible for the deaths of half my people.


Claire registers this. It seems contradictory, opposite to Diya’s claim from the day before. But Theodor certainly seems to believe what he says.


Claire then asks, what seems an obvious question long ignored:


CLAIRE: Who are you?


And Theodor takes a moment to begin on how he might introduce himself. We begin to hear his theme. (As a reminder: It’s almost something darkly tragic, maybe something reminiscent of Schindler’s List, though a unique composition from Giacchino. It also has elements of a rearrangement of the Man in Black’s theme, and some darker mystical notes like a dark opposite to Jacob’s theme.)


THEODOR: My name is Dr. Theodor Kant. And I am the protector of this island.


CLAIRE: Diya said she was protecting it.


THEODOR: As you’ve seen, she’s not stable.


And then he presses:


THEODOR: You’re familiar with this, aren’t you?


This strikes Claire, as she seems to recognize what he is referring to. The darkness. And she nods slightly, with a pain of memory in her eyes:


CLAIRE: I knew someone like her.


Theodor nods with a slight, knowing smile.


THEODOR: Back in the days of the DHARMA Initiative, they had deadly encounters with a force they called Cerberus.


Claire listens with a darkness in her eyes, as she seems to realize to what Theodor is referring. We hear dark, low hums of music through the scene.


THEODOR: And in time, some of them became sick. They began a quarantine, and tried to look for a bodily contagion in the victims. But it was futile.


And he continues:


THEODOR: I was shown their reports. And I had a theory, one that turned out to be right. This sickness was not in the body, but in the mind.


Claire takes this in. And Theodor explains, in his scientific understanding:


THEODOR: The infection occurs when the mind is most susceptible: at the brink of death. That’s when they’re claimed, keeping the individual from leaving their body. But they’re changed.


CLAIRE: So you’ve got a solution?


Theodor says, with a reassuring confidence for her:


THEODOR: It’s experimental. We’ve failed to heal the body. But, it may be able to heal a mind.


Claire still looks skeptical as to his intentions, however.


CLAIRE: Why would you help me?


To that, Theodor reaches out his hand to Sawyer, who hands him the bottle of liquid, unsure of its purpose. And Theodor holds it up in front of her, shaking it.


THEODOR: Imagine this wine is a miraculous power, waiting to be unearthed. Laying underneath this cork – the island.


And he flicks the cork with his finger. We may instantly recognize that we’ve heard a metaphor just like this before – but with a fundamentally different perspective. And we see the dark wine swishing through the bottle as he shakes it. We can see Claire through the bottle, watching it.


And he says with a firm conviction in his heart, a noble tone that is unmistakably sincere:


THEODOR: I’ve always wanted to heal the sick. That’s why our project here is to tap into this ‘wine’.


The music is a bit heavier as he declares that. And it grows softer again, as we see Claire again, taking this information in, deliberating in her mind.


And with a low thud, we cut to black.



[Commercial Break]



We hear the radio playing the Patsy Cline song You Belong to Me, as we face through the windshield of a car: inside, Kate is driving at the wheel, Claire next to her. In the back, Aaron is sitting. Kate and Claire both look excited for life, for whatever trip they are on. We then get a wider view, as we see they are driving along a mountain range.


In the next shot, we see the car parking to a stop near a little building that looks like it’s a tourist center/shop.


In the next shot, we see Claire and Kate a while later, stepping from the store with bags of souvenirs. We no longer hear the music. They approach the car: but we notice it’s vacant.


CLAIRE: Where’s Aaron?


And then with an ominous hum, we see Aaron on the ground being pummeled by two teenagers.


And the music screeches with an anxiety as Claire and Kate dash over there, Kate tackling one kid, Claire taking the other.


And as Claire takes the other, we see a madness in her eyes. Holding him to the ground, strangling, clawing into his neck. The kid struggles and groans in pain. The music elevating as the stress, anxiety pours into her, drives her…


KATE: Claire!


Claire suddenly snaps out of it. She loosens her grip, as she starts to become aware of her surroundings again, and aware of the shock. We hear the kid gagging and choking. The music sounds like low repeating thuds like an eerie heart palpitation.


The one Kate is holding down then speaks, pointing desperately at Aaron on the ground:


TEENAGER: He came at us first! He came at us first!


This strikes Kate with a disbelief. And as Aaron leans up, recovering from the shock, and he clearly does not deny it. We then get a shot on Claire’s reaction, dark, shocked, disbelieving, and trying to calm herself. We hear a few more of the low musical palpitations.


In the next shot, we see Claire standing near the car with Aaron, urgent for answers. And Aaron finally admits:


AARON: Someone told me to do it.


Claire looks stunned, waiting for him to tell her who. Aaron shakes his head a little, knowing the craziness he is about to reveal. He is breaking in tears.


AARON: I hear voices. They tell me to hurt people.


There is a haunting beat of music to this. And Claire looks deeply disturbed in her gaze. And we wooooooooosh to:



We are back on Claire as she sits on her bed still in the dark, dank room of the underwater station. The door to the room is cranked open by Sawyer, Miles with him, and Theodor (in crutches) hobbles towards the door, leaving Claire to think through on her answer. But he’s halted to a surprise when she already speaks up:


CLAIRE: Alright, show me this procedure.


Theodor turns to face her, thinking, and with a warm smile.


The camera holds on Claire for a second, who seems to have a darkness in her stare still however, before we cut away to —


Locke seated in his wheelchair, as Jack walks up to him.


JACK: So what did you wanna talk about, John?


With a few notes from the Jack&Locke theme, Locke says in a tone of some mystic confidence:


LOCKE: We’ve got work to do.


Jack nods, looking accepting of this.


JACK: Where to?


LOCKE: Long way from here.


And we see in Jack’s eyes, that he slowly begins to realize where it is Locke wants them to go. And with his eyebrows raised, he says:


JACK: We have to go back?


And we hold on Locke’s mystical gaze as his mouth turns into a warm smile. And we cut away –


With the sound of a low bong, we now see the first Island again, exotic and bright. It’s daytime still here. And then in the next shot, we see the survivors’ old beach camp.


And then we see Desmond wandering near a table. On top of it, a guitar case. We can hear the ocean waves gently brushing in the distance. Desmond opens the case, and he pulls the neck of a guitar out – Charlie’s guitar. We recognize damage on the neck from a time it took an arrow.


Desmond holds it, reminiscing. Thinking back on the first moment in time he met Charlie Pace. He softly mumbles under his breath:


DESMOND: “You’re my Wonderwall…”


He then turns his gaze and notices something else near by. Setting the guitar gently back in, he proceeds over to what he sees: it is an empty baby crib. Looking inside, he lets out a soft chuckle, and reaches his hand in.


In the next shot, we see elsewhere as Aaron and Ji-Yeon are sitting on the beach, the waves still brushing gently against it. And then a voice from behind them:


TAMAR: We should be heading back soon.


It is the woman we saw a couple of episodes ago, who has a pale brown complexion and long dark hair, and is tough-bodied.


Aaron just stares blankly out at the sea still, though Ji-Yeon glances back:


JI-YEON: Yes, ma’am.


She has a small bag with her, and out of it, are a couple of photos. Among them are old pictures of Sun and Jin early in the joy of their marriage. Some of them also photos of Sun with Ji-Yeon as a toddler, and some include Bpo Bpo the Shar Pei. We hear a few soft notes of Sun and Jin’s theme as well.


And Ji-Yeon quietly remarks:


JI-YEON: I just wanted to see this ocean. Somewhere out there, my mother and father died.


Aaron seems to be pulled out of the dark thoughts of his mind for a moment, and looks over at her photos with her.


AARON: I didn’t know you had a dog.


Ji-Yeon says sadly:


JI-YEON: She died a few years ago.


A few seconds later, Tamar steps next to them, as she too stares at the ocean. She is also reminiscent:


TAMAR: I had family die here too.


Ji-Yeon looks to her, surprised.


JI-YEON: Who did you lose?


Tamar says softly, with a weight of something unresolved in her heart:


TAMAR: My older sister. Her name was Ilana.


We hear a few soft, tragic notes of music. And then Desmond emerges with them, sitting next to Aaron.


TAMAR: We better head back.


Desmond nods:


DESMOND: Alright, I’d like to speak with Aaron a moment.


Tamar agrees to this, starting to head off, and Ji-Yeon starts to leave as well. And Aaron just seems puzzled.


AARON: What do you wanna talk about?


Desmond smiles, and then motions his head a little further down the beach. We can see Penny and Charlie Hume standing at the shore, letting their bare feet sink into the sand.


DESMOND: Do you know why I named my son Charlie?


Aaron shrugs. And we begin to hear Claire and Charlie’s theme, as Desmond explains:


DESMOND: Good man named Charlie got us rescued from this island. He was close with your mother.


Aaron nods, familiar with who this is, from years of having been told. And Desmond then says, with a hint of regret:


DESMOND: He died saving us because I saw a vision. I saw you as a baby being held by a woman on a helicopter.


Desmond tries to make sense of this:


DESMOND: I thought it was your Mum. But I guess I got it wrong.


The music hums poignantly as Desmond reminisces. And he further adds:


DESMOND: Before Charlie died, he gave me a list of his ‘Greatest Hits’. I was supposed to give them to Claire, but I lost it in the water.


Desmond starts to reach into his pocket.


DESMOND: Maybe he’d take consolation if I gave you this instead.


The music elevates with emotion. And we see Charlie’s DS Ring in Desmond’s palm. Aaron looks confused by the significance of this.


DESMOND: It’s a family heirloom. He left it in your cot.


Aaron curiously takes the ring into his hand. And Desmond adds, giving further point:


DESMOND: Whatever you’re dealing with in your life, remember, you’ve always got a big family of people who love you.


Aaron nods, absorbing what Desmond says. And Desmond glances back to Penny and his son in the background.


DESMOND: There’s nothin’ of greater value.


The music quiets down, and we cut to Ji-Yeon as she walks with Tamar. And Ji-Yeon stands waiting for a moment, as she notices something down the beach:


Jack is standing down on the beach, with Locke in his wheelchair by his side as they watch the ocean in reminiscence.


We hear a mystifying note of music as Ji-Yeon notices them, but not knowing they are any different from living persons, she continues on with Tamar.


And we cut away — with the sound of a low bong, we now see the second Island, dreary and divided up into its four islets.


We are on Hugo’s expression now. Whatever he is thinking, he seems glum. And we can hear Ben and Diya conversing:


BEN: You know, I find it a little ironic you were on my case the other day about the DHARMA purge.


DIYA: Why is that ironic?


BEN: Because you’re the one who killed all those people in the pit.


Diya shakes her head, however. And she says firmly:


DIYA: No, Theodor did.


Hurley interrupts:


HURLEY: I’ve got somethin’ to say here.


And they turn their attention to him. Diya is still behind the lightposts. And we hear soft music, reminiscent of Hurley’s “tragic” theme, beating through the following speech:


HURLEY: I don’t care about pointing fingers. I just wanna find a peaceful solution to all this.


And then he says, with frustration:


HURLEY: And y’know, I keep sayin’ that over and over, like a broken record.


And he continues:


HURLEY: And I’ve been trying to get somethin’ from the Island, anything.


And then he says to Diya:


HURLEY: Someone told me I needed to show the Island an act of faith. Now I haven’t seen you do anything bad. You’ve helped us.


We register Diya’s expression – she is clearly wondering, is he going to – ?


HURLEY: There’s gotta be a first step to peace. There’s gotta be trust.


And finally, he says:


HURLEY: I’m willing to let you hang with us, if you’ll help us.


Diya nods earnestly, as though to convey an “Of course I will.”


BEN: You think that will get you a sign from the Island?


Hurley shakes his head, however. There is more. The music beating a little more heavily but still softly:


HURLEY: Then I started thinkin’ about my friends Charlie. Jack. And the rest.


And finally, he concludes:


HURLEY: They made big acts of faith.


There is a note to this that is sentimental and yet ominous. And he turns to face Ben.


HURLEY: So are you with me, Ben? Whatever it takes?


Ben nods amiably:


BEN: Of course, Hugo.


Although Ben’s face then dims, as though expecting something foreboding in their road ahead. And we cut away —


We are now back in the underwater station. Claire is walking with Sawyer, Miles, and Theodor through a dank corridor. We can see an icy stare in her eyes: we see the pockets of other SAMSARA members as they walk past, some with weapons, others not. Claire is biding her time. We hear a few low thumps of music.


And as they continue, we wooooooooosh to:



Claire is at a computer on its desk. It’s the dark of night in the house, the only thing gleaming is the screen. And Claire looks to be heightening with a quiet fury as she searches something online. We hear a thumping palpitation of music.


We make a quick note of something laying near on the desk: a “Hanso Foundation, Dr. M.D. Galen” business card that the group had been given in a previous episode. She glances at it for a second as she continues to search online.


And then we see what her findings are on the screen: it’s a Facebook page for one Richard Malkin. In one of the posts, there is a comment reading: “The business conference is a snooze, but I am enjoying my time here at LA.”


And Claire icily remarks under her breath:


CLAIRE: In LA this weekend, Mr. Malkin?


We cut away —


In the next shot, we are inside an apartment, its lights on. And then we see him – Claire’s old psychic, Richard Malkin, in the kitchen as he pours himself a glass of wine. We still hear ominous thumps of music.


And he starts to hold up his glass, pausing as he almost senses something near by. He turns and — WHACK!!


Malkin groans and goes slamming onto the floor, his glass smashing and splattering on the floor, and knocking other breakables off the counter with the sound of smashing. The thuming music heightens, pounding with palpitations.


We then see Claire standing over him, with almost a darkness seeming to flare out of her being, she seems like a different person. She reaches for a butcher knife.


Crawling back terrified, in a panicked voice he cries:


MALKIN: Claire?! No!


Her eyes look deranged as she closes in on him, holding the butcher knife. The music now blaring with a spiraling anxiety. And she says tensely:


CLAIRE: You sent us to that island. You made us this way! You fraud.


MALKIN: Wait, Claire!


He holds up his hand for her to stop, his tone whimpering.


MALKIN: The real reason I traveled here was to see you!


We can’t tell if he’s telling the truth of just trying to save his own skin. Claire holds the knife, an intense rage flaring through her. She comes to a stop before him. The music thumping with palpitation.


And he tries to warm his demeanor a little:


MALKIN: I may be a fraud, but I really saw something for you.


She steps closer, still holding the knife. Music still palpitating darkly. She gets the impression that she is being manipulated.


CLAIRE: You said danger surrounded Aaron. That if I raised him, he’d be safe.


Malkin, panting with fear, his face saddening a little, the music reflecting this, and he says:


MALKIN: He needed your innate goodness. But I can see… you were darkened yourself. You lost it.


Claire starts to stop again, frozen in a despair. And Malkin just says:


MALKIN: I’m sorry, Claire!


Claire drops the knife to the floor, tears pouring from her eyes now, coming back to her senses as to what she has done, and what she almost just did. She starts to hurry out of the room.


And before she can leave, Malkin gives her one final prophecy:


MALKIN: I came here to tell you – your child is under attack now.


We’re not sure if he’s telling the truth or just trying to manipulate her for his own survival. But it seems to register in Claire’s mind that what he has said is true. And she continues on to quickly leave.



[Commercial Break]



Claire is more calm now, though we can see in her eyes that she seems shaken. She is sitting in a nice room at a table. And across the table, is Manvel Galen.


CLAIRE: I’m not really sure why I called. … I just don’t know where to turn.


Galen, in contrast to the veiled, imposing malevolence we usually expect from him, he now has a more caring touch to his personality here. And in his raspy voice, says:


GALEN: Your son is in a spiritual danger, and we have the resources to help. You’ve done what any loving mother would do.


Claire looks uncertain, wondering if she is wandering into more manipulative hands. But she doesn’t argue.


GALEN: In our research, we’ve found spirits are drawn to what I call a special light. There are places in the world like this, and there are also individuals.


He continues:


GALEN: So we have a field of research for children like this, as they may hone their talent to help us get to such a location.


CLAIRE: You mean the Island?


GALEN: Not your island. But another place we can’t get to anymore.


And then holding up his hands he explains:


GALEN: I have a theory. If on one hand, there are children with more of a light. Then on the other hand, there are children with a darkness.


And Claire registers what he just said. Is he trying to say – ? But Galen quickly clarifies:


GALEN: That’s not to say they’re evil, but rather they are more vulnerable to unstable spirits.


The music is softly ominous. And Claire is hit with more worry. And some kind of guilt. She asks:


CLAIRE: What causes it?


GALEN: Well there’s no consensus. You may be born with it, you may develop it, or someone else may influence it.


This doesn’t really ease her fears. And she asks:


CLAIRE: So what can you do?


GALEN: The place we’re trying to get back to. I believe it has the power to cure this. To give healing for both you and Aaron.


There are a few more dark notes of music as Claire considers this. And we wooooooooosh to:



Inside the station, Claire approaching the empty pool, at the bottom some mechanical outline. We hear music elevated though low with suspense. With her are Theodor, Sawyer, and Miles.


She looks anxiously around – any sign of a weapon on anyone. But she sees none. And we cut to:


Back at the flashing red lightposts. We are now on Walt, who looks to be the most resistant of the four individuals who have been deliberating Diya’s release today.


DIYA: You still don’t trust me.


Walt hesitates a moment, before saying:


WALT: How can I trust a monster?


DIYA: Who are your friends?


Walt doesn’t reply to this, unsure of the meaning behind her question. And then she says:


DIYA: None of your friends have been the most ordinary of humans.


Walt is struck by this. And we hear a more melancholy piece of music. And she reminds him of who his friends are:


DIYA: You have an affinity for the inhuman. Your closest friends are those with similar ability. With the dead. And with animals.


Although it’s uncomfortable, we can see in Walt’s eyes, it’s all clicking in his mind. She’s right.


And finally, he says something that has still been pressing upon him:


WALT: So why did you drag me down that hole?


And we close in on Diya’s own expression, a soft one with sadness, and self-pity. And finally, she confesses:


DIYA: I thought… If you could help all of them come to peace… Maybe you could help me. I’m not human anymore. I’m not quite alive. An animal – a monster.


And we hear a cathartic piece of music reflecting these emotions. And we hear variations of Walt’s theme and Diya’s theme intermixing. And Diya is in some tears now. The pain of what she is, what she has been these past many years, tormenting her.


And we have one last shot on Walt, as he quietly takes this in. We see a newfound empathy – and understanding conveyed through his eyes.


And as the music relaxes into silence again, we cut back to:


We are now with Claire again as she faces the pool: it’s now full of water. And we can hear the low electromagnetic hum that seems to come from under the floor. Near by, Sawyer and Miles have skeptical looks as to whether this will amount to anything.


THEODOR: Now just go into the water, Claire.


Claire looks around the room – it’s just the four of them. We hear a few low thumps of music.


CLAIRE: You didn’t bring any of your people.


Theodor is silent – not sure what to say to this. And with a few more thumps of music:


CLAIRE: Not smart.


And suddenly – ! Claire grabs him by the throat.


The music now spiraling up with anxiety is Theodor struggles against her. Sawyer and Miles quickly step forth – but Theodor holds out his hand to halt them, as she starts to strangle him. He can only manage out:


THEODOR: Don’t interfere!


Sawyer and Miles hesitate, not sure that this is a particularly bright idea.


Theodor struggles against Claire, one of his crutches sliding and falling to the floor. The music spiraling with anxiety still.


He barely manages to choke out:


THEODOR: Trying to help!


A darkness flaring in Claire’s eyes as she struggles against him. She says tensely:


CLAIRE: We can solve all our problems right now.


Theodor continues to choke and struggle, and stumbling on his bad leg, he falls from his other crutch, Claire falling with him as she holds onto him.


And with a SPLASH, they land in the water.


Now Claire is drowning Theodor in the water, the music still spiraling with danger, anxiety, intensity, as he is barely struggling for life.


And as she is strangling him in her state of madness, she, too, sinks into the water. And as we see her sink under the water —


Suddenly, we’re somewhere else: we’re in a dark, haunting green forest. Claire is standing here, her hair ratty, her clothes dirty. She looks anxious and terrified as she looks around. Why is she here now?! And we can hear a very unsettling cooing of wildlife (the same as we hear in this.)


As she looks around, terrified, we then see what is ahead: a shabby, wooden cabin. It is totally dark inside.


And she stands frozen in terror before it. She knows this place.


We can hear the sound of a rocking chair squeaking from inside the dark place. And then we hear a voice, one that sounds like Christian’s. And perhaps a soundbyte we’ve heard on the show in a previous episode:


VOICE: You wanna come in?


Claire, terrified but drawn to the dark place, starts to step up to the door. But she hesitates. And then turns around and starts to quickly walk away. And then she runs.


And as she sees the direction she is running, suddenly the cabin is there as well. We hear a startling musical effect.


She then turns and tries to run at another angle, but there it is again, near another group of trees. We hear the musical effect again.


And then she turns and runs in another direction – and it’s there. And we hear the musical effect again. She can’t escape from it.


And as she halts, we see a figure start to step out from the creaking door of the cabin. We see that it’s “Charlie”, dressed in dark gray, with his frightening gaze. And he has a smile.


“CHARLIE”: Come on Claire, you need my help.


He steps closer to her, continuing to talk:


“CHARLIE”: I never abandoned you. Not like Aaron’s father. Not like the Shephard family.


And Claire almost seems to start to relent. As he echoes feelings that have haunted her, that have quietly tormented her inside.


And she starts to turn – and with her, we see ahead: others standing in the dark forest. We see Kate, standing smiling. Aaron, with a warmth on his face. Her mother behind them, also smiling. And we see another Charlie Pace among them – he looks warmer, with his guitar case strapped around him. He waves to her. There seems to be some kind of illumination brightening these four in the midst of the forest. The music is sentimental.


Claire looks back to the Man in Black in Charlie’s form:


CLAIRE: You’re not Charlie. And I don’t need you anymore.


The Man in Black has an icy glare in his eyes, almost trying to suggest doubt into her mind. And Claire finally says:


CLAIRE: I already have everything I need.


And she turns to walk away. Leaving the Man in Black to stand alone in the shadows.


She goes to join in the bright spot with Aaron, Kate, Carole, and Charlie. And she smiles warmly – her hair now appears smooth and normal again, her clothing clean. And then —


We suddenly find ourselves back underwater. Claire struggling with Theodor. And as she regains awareness of reality again –


She splashes her head up to the surface of the water. And she pulls Theodor up with her. He gasps for breath, and she pulls him to the edge of the pool.


Sawyer and Miles reach down to help Theodor out of the water, dragging him out, and laying him on his back. And Claire starts to step up out of the pool as well. Water dripping from them onto the floor.


And Claire seems to have a relief in her eyes now – a peace, almost. And she says:


CLAIRE: I’m sorry, Theodor.


But Theodor seems forgiving of the attack. He’s more concerned with something else. Still catching his breath, he asks:


THEODOR: Did it help?


And Claire smiles, and she says, as we hear a soft, hopeful music, maybe some mix of Claire’s theme and Theodor’s theme:


CLAIRE: Yes… It showed me what to turn to.


And then she adds:


CLAIRE: I’m gonna be okay now.


The music elevates more heavily. And a big smile of gladness comes over Theodor. Yes – it worked. It finally worked. And he sighs out in relief, as he relaxes his head back on the floor.


And we see one last shot on Claire, Sawyer, and Miles standing around one another, Theodor laying on the floor. The music softens into silence, and we cut to black.



[Commercial Break]



We are now outside a building, in some kind of parking lot. It’s daylight. And we can hear the sound of life – cars, driving in the distance. We see Claire, standing with Aaron and Hurley. Aaron looks troubled.


AARON: Why aren’t you coming with us, Mom?


The music beats softly. And Claire replies:


CLAIRE: I’m going with Hurley and Kate. It’s how I’m going to protect you.


And Aaron just says:


AARON: I think I need you with me.


The music gets a little heavier, and she wraps her arms around Aaron in an embrace, some tears coming out of her eyes.


CLAIRE: I’ll be with you again soon. This is going to help us both.


Claire looks into Aaron’s eyes. And she smiles warmly.


CLAIRE: I love you.


Aaron nods, though still not understanding.


AARON: I love you too, Mom.


And she lets Aaron go. Hurley gives Aaron a warm pat on the arm, and he turns to head off, perhaps to a car to go. Hurley waits with Claire a moment.


HURLEY: Y’know, maybe you should go with him.


CLAIRE: Mum will be with him.


HURLEY: Why are you afraid to go with him?


Claire takes a moment, before confessing:


CLAIRE: I think I may have made him like this. Because I was crazy. I wasn’t a good enough mother.


Hurley shakes his head, and with a warm smile, he says with optimism:


HURLEY: Nah, you’re a great mom. You’re just afraid.


Claire smiles a little. And she asks:


CLAIRE: Are you sure he’ll be safe on the Island?


Hurley smiles, still optimistic and earnest, and we hear a few notes of Hurley’s “Handouts” theme:


HURLEY: Black smoke’s long gone. There’s a bright center at the Island. I think it’s the best place in the world to be.


Claire nods. And we wooooooooosh to:



We hearing a heavier, faster-paced variation of Thinking Clairely. We hear no other sound effects during the following sequence, only watching the montage of moments.


The first moment is that of Claire in the Garden sick bay, and Theodor sitting on a bed. They are both still wet, though drying, from the pool. Sawyer and Miles are in here now, as is Dr. Horvath as she examines Claire and Theodor. Claire looks more calm and relaxed than we’ve seen her in a while. Belle is also here, and she exchanges friendly smiles with Theodor.


Theodor glances to Claire, and she glances back, giving a slight nod. And we see as he calculates this in his mind, the music silent for just a couple of seconds: he now has successfully recruited another one. And then the music continues more heavily.


In the next shot, we are in one of the Barracks houses. We see Aaron inside with Ji-Yeon, along with Desmond, Penny, and Charlie Hume. Tamar heading out the door to leave them.


The five look to one another, the music still heavy. We see more of a warmth on Aaron’s face. He exchanges glances with Ji-Yeon, who smiles. And for the first time, we see Aaron smile. Perhaps things are growing more positive. Perhaps he has all he needs here.


Desmond smiles to the group as well, especially with emphasis on Penny and Charlie. Maybe Desmond is finally starting to feel his heart fully connecting with his family again. And we see Penny smile as well, as she is starting to realize that maybe Desmond is finally fully coming back.


His grandmother, Carole, comes to sit on the couch by him, smiling. And Aaron sits there, holding the DS ring in his palm. He looks at it for a moment.


And then we cut to the next shot: it’s Hurley and Walt standing just outside the flashing red lightposts. Diya standing in the midst of them. And suddenly, all of the lightposts flicker off fully.


We see Diya emerge through between them slowly. And Ben steps out of the operating booth near by. We also see Hurley approaching with a warm smile.


And then, Walt hugs Diya, finally allowing himself to trust her again. And we can see in her face how glad she is to be trusted and forgiven again. Hurley comes and joins in, reaching his arm around to hug as well.


We see Kate’s expression is soft, as is Ben’s. And the music softens into silence.


And then we’re back inside the station, as Theodor, now dry, hobbles in his crutches over to the computer room. Gaughan and Akamu are there. Up on the security feed, we can see Claire, Sawyer, and Miles laughing about something, having some warm conversation with each other.


AKAMU: So the experiment was a success?


Theodor nods.


THEODOR: The first real success we’ve had in years. Record the results.


Gaughan nods as he then begins to pull up research files on the screen, with tons of babble written in them.


The music then turns a little darker, more ominous, as Akamu remarks:


AKAMU: This still won’t be enough to change the Equation.


And then up on the screen, we see the Numbers: 4 8 15 16 23 42. The music ominous with some dread.


THEODOR: How much time is left?


AKAMU: I would say we don’t have more than a week.


Theodor looks darkly at the screen. And we get one last shot on the numbers, before we cut to:


Elsewhere in the station, Belle is in a room. And as she stands idly in there, thinking, we see someone emerge from the shadows of a corner:


It’s Locke, now in his dark persona, standing upright. And Belle can clearly see him. We hear an ominous variation of Locke’s mysterious theme.


BELLE: Oh, it’s you again.


And Locke says darkly:


LOCKE: You have your end of the deal now.


And Belle has a somewhat foreboding look in her eyes. And then he says, though we may not entirely understand what he means:


LOCKE: I got Claire to you. You got success with your little experiment.


The music rings darkly to this. And he steps closer, and says:


LOCKE: Now I need what you promised me, Annabelle.


We have one last shot on Belle’s foreboding eyes. And then we cut away:


With the sound of a low bong, we now see a distant view of the first Island once more. It is nighttime, a dark view of the Island in its enormity.


And in the next shot, we see Jack wandering alone through the darkness of the jungle. It looks haunting, and we can hear the sound of nighttime wildlife chirping, croaking, and calling. Jack is holding a torch, a bright red flame at the end that seems to illuminate the path through the dark.


And he looks around, alone, and calls out:


JACK: John! You there?!


And we see a confusion hit on his face as he looks around for a few moments. He seems to be completely alone in the darkness.


And then Locke emerges into view, in his white-shirted persona, sitting in his wheelchair.


LOCKE: Sorry, Jack. I was lookin’.


Jack nods. And Locke looks up at the torch.


LOCKE: Nice torch.


Jack smiles.


JACK: I just kind of imagined one would help. And then all of a sudden – I’m holding it.


Locke nods, and he motions his head forth.


LOCKE: We need to go that way.


And Jack looks ahead, through the dark jungle.


And then in the next shot, we see Jack walking through ahead of the leafy green vines. Ahead, we hear a natural rushing of water.


And as Jack steps through, we then, all around, the dark caves. Fresh water pouring in. We hear a very eerie version of the “Life and Death” (much like the first time Jack found these caves. 1:26 – 1:57).


Jack looks around, the familiarity of this place hitting him. We see in his eyes as he reminisces on the earliest days of when he first came to this Island almost 13 years ago.


And then he stops, facing what’s ahead. Locke in wheelchair near him. And we see Jack suddenly looking very troubled in his eyes.


And then we see what he is looking at: it’s the coffin. Except, in what is news to us: it’s not smashed anymore. It’s repaired. There are slabs of wood nailed around it to ensure that it’s all together again. And there is a bouquet of native Island flowers draped over it. The music is quiet. We can only wonder – is he inside now?


Jack looks at the coffin, unnerved by what all it represents for him. And Jack says, in a more anxious voice:


JACK: Why are we here?


LOCKE: This is where I was told we had to go.


Jack turns, facing Locke, looking very uncomfortable. And we see an empathy in Locke’s eyes as well, as he understands why this sight troubles Jack.


And then suddenly – we hear the sound of whispers. (0:00 – 0:06) Jack turns in the direction of them, and Locke also faces the same direction.


And then we see, stepping into view – Jack’s granddad. He looks healthier now in appearance, as he walks over to approach them.


Jack says, in a voice of surprise:


JACK: Granddad.


And Ray smiles as he approaches his grandson.


RAY: Hey, Jack.


The shock quickly passes Jack, however, as at this point there’s not much he can be shocked by anymore. And he just asks the question that naturally comes to him:


JACK: Have you seen Dad?


Ray shakes his head.


RAY: He’s not here.


But Jack looks confused, and he motions the torch to the coffin:


JACK: That was his coffin.


Ray glances at the flower-adorned, rebuilt coffin. And Jack continues:


JACK: He wasn’t in it. I’ve looked all over the jungle to find where he landed.


And it’s clear – Jack is expecting to find his father’s body. Not his father’s ghost. We hear the eerie music transition into some variation of Jack’s more “anxious” theme. Ray turns back to Jack:


RAY: How long have you looked?


And we look on Jack’s face for a moment. Indeed, and it hits him. He has looked indeed a long time. He’s been looking for the past 10 years.


RAY: Who is in the coffin, Jack?


But Jack looks visibly struck, uncomfortable by the question. We hear a few particularly ominous notes to this. Whatever is in the repaired coffin now, it unsettles him to face it. And Ray, with a sympathy in his eyes, just says:


RAY: You still haven’t learned to let go.


Ray starts to turn, walking away a little. We then hear the music transition into Jack’s normal theme.


JACK: Why are you here, Granddad?


Ray shakes his head a little, but still smiling, and just says:


RAY: I’m supposed to tell you, you’re going about this all wrong. You can’t keep holding onto life. Yours is over.


Jack shakes his head, though, in some denial. He doesn’t seem to have fully accepted that his life has truly ended yet. We hear the music give a brief spin back into Jack’s more anxious theme.


JACK: Not until I find what happened to him.


Ray then nods, knowing he can’t change Jack’s mind. He will just have to leave him to find peace himself. The music relaxes back into an eerie, quiet mix of Jack’s normal theme and the Life and Death theme.


RAY: Well, I’m taking the next step ahead. See you around, kiddo.


Jack is still confused as ever:


JACK: Stepping where?


And Ray turns to him, and smiles warmly, saying:


RAY: Somewhere better than here.


And he takes a step. And in the next shot, Ray is gone. The music quiets into silence.


We can still see in Jack’s face as he tries to absorb everything. John sitting behind him. And Jack says:


JACK: What now?


And John, looking satisfied that they’ve completed their goal, simply says:


LOCKE: I guess we go back to the other island now.


And Jack nods.


We have one final shot on this dark paradise: Jack and Locke alone in the shadows of the caves with the coffin, the starlight shining down on them, the ambient water rushing peacefully still.


The screen cuts to black.


And with a soft tone,




[End Credits]

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