[A quick montage of Ben killings: shooting Locke in 3.20 The Man Behind the Curtain, shooting Desmond in 5.12 Dead Is Dead, stabbing Jacob in 5.16&17 The Incident, shooting Widmore in 6.16 What They Died For]
BEN: He doesn’t get to save his daughter.
[From 7.02 The Gifted, Hurley, Ben, and Walt in the Egress station]
BEN: We need to do research into the DHARMA files off the island.
[From 3.20, Annie handing child Ben a doll]
ANNIE: Now we never have to be away from each other.
[With more footage of Annie, we also hear a voiceover of Sawyer from 7.05 Hollowed Hearts]
SAWYER: She ain’t on this island anymore.
[Again from 7.02 The Gifted, Ben, Hurley, and Walt examining the body of a dead woman. And Ben’s line is partially voiced over as a moment is shown of his troubled expression.]
BEN: Women can’t have children here – […] We’ve never found a cure.
[From 6.17 The End]
DESMOND: -you’re gonna lower me into that light, and I’m gonna go somewhere else.
[Desmond on the ground in the flaming-hot red chamber]
DESMOND: Noo! Nooo!!
[Hurley with Ben]
BEN: -Take care of people. You can start by helping Desmond get home.
HURLEY: Will you help me, Ben?
BEN: I’d be honored.
Episode 7.07: Checkmate
Our first shot is of a chessboard, with light and dark pieces scattered across it. And then a hand is reaching for a dark piece, and moving it across.
Then we then see a wider view: it’s Ben seated on the dark side, with Hurley playing the light pieces. They are on long seats opposite each other in a confined wooden area with a small table set between them.
Hurley looks thoughtful as he examines the board, and Ben speaks:
BEN: You might wanna go for the bishop. – Then again, that leaves a risk of attack from the rook.
HURLEY: I don’t need ya to tell me my moves, man.
BEN: Just trying to help.
And then, suddenly the whole room lurches. All the pieces tilt and some of them tumble off of the board and onto the floor, to the annoyance of the two.
HURLEY: Well, can’t say it wasn’t begging to happen.
As they look around to pick up the fallen pieces, Hurley traces a piece to a brown bag down along his seat. And curiously, he then reaches into the bag, and pulls out its contents: a hand-carved wooden doll with short hair, female, wearing white and blue. We see the marker-drawn dotted eyes and nose and smile, and immediately recognize the doll from Ben’s childhood.
HURLEY: What’s this?
Hurley looks in confusion. Rather than dodge the question, Ben in a change from our usual expectations, decides to be upfront:
BEN: It was a gift from a childhood friend.
HURLEY: Oh, where is she now?
Hurley gently places the doll back inside the bag.
BEN: I never really got a chance to find out before.
As they are talking, we hear a door opening – and then we see it’s from the ceiling down at the end of the room, a ladder leading up to it. And a voice calls down:
DESMOND: We’ve found them!
In the next shot, we have a wide view outside of the white sailboat, the Elizabeth, on the ocean sailing up alongside the blue-and-white sailboat, Our Mutual Friend. We can hear Desmond’s Theme (0:00 – 0:43) calmly but emotionally playing. And we can see Desmond, Hurley, and Ben each on the Elizabeth.
And now our view is back with the three of them, as they see the side of the other sailboat up close to theirs. And Penny emerges into view.
The music grows heavier as Desmond, a warm smile on his face, steps out across from one sailboat to the other, before embracing Penny tightly and kissing her, the two reunited again at last.
And in the next moment, Desmond turns and reaches down for his curly-haired toddler:
And Desmond, upholding his son, embraces him also and kisses his cheek. And he says softly as he turns back to face Penny:
DESMOND: I’m home.
And Penny’s relief to be reunited with Desmond is then broken once she glances back to the other sailboat – and sees who’s on board. And the music turns quieter and darker as she reaches a handgun out of her pocket and points it as Ben and Hurley freeze in place.
DESMOND: Penny, he’s with me! He’s the one who got us contact with you from the Island.
We see from an angle behind Ben’s shoulder as he stands frozen watching towards Penny whose aim is held at him, a terror on her face.
PENNY: He shot you!
Ben says, with an earnestness in his face and tone:
BEN: I am very sorry for doing that.
And Penny starts to lower her gun as Desmond gently moves her arm down, still holding Charlie in his other arm.
PENNY: Are you the one who took him?
And Desmond says:
DESMOND: No, that was your father.
And Penny registers this in her mind, before asking:
PENNY: Where is my father?
And Ben quickly answers:
BEN: I shot him. – You should know, Penelope, that he wouldn’t sacrifice you.
And this strikes Penny in some disbelief, and we hear a soft tone of music. And Ben further explains:
BEN: He was willing to give up the Island. – But I wasn’t.
And we have a few last shots on Penny, Desmond, and Hurley, before turning to Ben – and we wooooooooosh off to:
In the background, we see the dreary environment of abandoned houses, and near by a SAMSARA van. The camera pans down to give us a view: Ben and Hurley again practicing their chess maneuvers with a game set they must have found somewhere near, playing at a picnic table. There’s daylight, though cloudy. As usual, Ben is dark and Hurley is light.
As Ben moves a piece across the board, Hurley’s king is placed in check, and as he deliberates his move, he casually remarks with a hint of darkness:
HURLEY: Y’know, what if you just killed the King instead of checkmating him?
Ben takes in Hurley’s remark as we hear Hurley moving his piece. And he simply says:
BEN: Well, that is against the rules.
Hurley replies with half a smile:
HURLEY: I never knew you were one to follow the rules.
Ben says matter-of-factly:
BEN: Some rules you have to follow. That’s why I never killed Charles Widmore sooner.
HURLEY: Whose rules were those?
BEN: Jacob’s. The Island would not let either of us die until we had fulfilled our purpose.
And we pause on Hurley’s expression, something about Ben’s remark striking him. And as we see this, Ben continues:
BEN: Of course, I had believed Jacob didn’t want Alex to die, either. But as I later realized, the rules are very subject to interpretation which can change by circumstance.
As Ben concludes his statement and moves a piece, we can see the weight of regret and frustration in his face and tone. And Hurley replies back, with a look of sympathy:
HURLEY: I’m sorry, dude.
Ben continues, with a hint of self-contempt:
BEN: I was trying to hold onto power, but then I lost it anyway. I sacrificed her for nothing.
And Hurley thinks on what Ben just said. And he does not totally agree with his conclusion. With a warmth of hope and encouragement (which is reflected in the music), Hurley’s smile lifts a little more, and he replies:
HURLEY: But it wasn’t for nothing. All of that made you recognize your own humanity.
Ben looks surprised and reflective of Hurley’s observation. And we hear a few soft notes of Ben’s theme. And Hurley moves his piece across the board, while his tone of voice dims somewhat again:
HURLEY: And you wouldn’t be here to help me if that hadn’t happened.
We can see in Hurley’s face and eyes and we can hear in his voice, that something more is weighing in on him as he says this, the music dimming a little as well. And we cut to see Ben’s face, in a similar tone of expression.
HURLEY: And I need your help now. I wasn’t able to get all the info I needed from Theodor those two weeks they had me.
Hurley takes a pause, before saying:
HURLEY: I’m enabling the Reyes Contingency Plan.
The music turns a flash more ominous. And we can see Ben’s expression sink somewhat, as though he was dreading this.
BEN: Don’t we have another option?
And Hurley says glumly:
HURLEY: If we did, I wouldn’t be asking you this.
Ben still looks hesitant.
BEN: Is it all worth it?
Hurley takes a moment, before he says pensively:
HURLEY: The Island is depending on it.
The music beats a little more mystically. And Ben nods slowly, still hesitant. But he knows what he has to do. And we cut away —
Our next shot is from the point of view of a ceiling camera in the Tin Man station. We can see Kate and Walt walking through a corridor – and then Diya. The camera feed seems to fuzz a little for a moment as it highlights Diya before clearing again. We hear a few notes of the Tin Man station theme.
In our next shot, we are in our normal point of view. Walt remarks, as he looks in wonder at the tables of journals:
WALT: What was this all for?
And Diya comments with a look of reminiscence as she looks around the area. This is a place of profound memory to her.
DIYA: We were trying to put souls in machines. I was the lead researcher.
Walt is mystified by this. And he of course asks:
WALT: Did it work?
And she says, slightly darkly:
DIYA: …Not the way I intended.
A couple of moments later, Hurley then emerges into the room with them, everyone turning to him.
WALT: Where’s Ben?
And Hurley says glumly, as we hold close on his face:
HURLEY: I sent him to meet with Theodor.
And there is a low note of music. And we cut to black —
L O S T OPENING LOGO – it’s reversed
We are observing from Ben’s right shoulder as he holds the steering wheel, we hear the humming of the motor, and see the environment moving out the window and windshield: Ben is driving a van.
[Along the bottom of the screen, we see in a white font, the credits gradually fade across: Starring Henry Ian Cusick, Ayesha Dharker, Michael Emerson, Michael Fassbender, Jorge Garcia, Josh Holloway, Malcolm David Kelley, Ken Leung, Evangeline Lilly, Emilie de Ravin. With Matthew Fox, and Terry O’Quinn. Guest Starring Jared Harris, 5 undetermined guest actors, 4 undetermined guest actresses. Special Guest Star Sam Anderson. Special Guest Star L. Scott Caldwell. Special Guest Star Fionnula Flanagan. Special Guest Star Sonya Walger. The rest of the credits also listed.]
We then see as the van is driving across a wide bridge over a canal of water: leading from one islet to another.
We have another glance on Ben as he looks quietly ominous for what lies ahead in his mission, the music reflecting that tone. And we wooooooooosh to:
We are now in a nice-looking room at a table. Sitting in a chair an unnamed gentleman dressed formally. There is box resting on the table. And a large portrait of Charles Widmore on a wall near by. And we see Ben stepping into view, alongside Hurley, Desmond, and Penny as they approach their seats.
BEN: I’m surprised you invited me.
And Penny says with a hint of caution in her voice:
PENNY: Well, we should tie up ends, lest something come back to bite us.
And we get a few glimpses on Desmond and Hurley as well. Desmond looks down, something weighing heavily on him.
HURLEY: You okay, dude?
Desmond catches himself and changes his expression to normal, nodding.
DESMOND: Aye. Just had the Island on my mind a lot lately.
Hurley nods, and they go to take their seats. Penny takes note as Desmond is seated some distance from her, oddly closer to Ben and Hurley. We see that Penny senses something wrong.
The unnamed man reaches into the box picks out some papers. And slipping through the papers, he reads aloud:
EXECUTOR: “The Last Will and Testament of Charles Widmore”.
We hear a few soft piano notes gradually play throughout the scene. And we make note of the portrait of Charles Widmore on the wall, as he looks strong and determined in his stare. And they begin to listen to the Executor, as he cuts straight to the point.
EXECUTOR: “To my daughter, Penelope: I regret that I never found more time for our relationship. But in the time I did have with you, I raised you to be a strong leader as I was.”
Though we can read Penny’s mind, her discomfort of her father associating her strengths with himself.
EXECUTOR: “I spent the last two decades focused on my company as I worked to both protect and find the Island. You were never meant to be entangled in those affairs. But alas, you did find your way into them when you investigated my work in your search for your now-husband.”
And we get a couple of glimpses on Penny and Desmond, and the Executor pauses a moment, before he drops the bombshell reveal:
EXECUTOR: “As I have realized over the years, you have not only the strength, but the intelligence and the resourcefulness. So I judge your choice in your husband to be sound. And I am sure you will be likewise in your leadership of the Widmore Corporation, which I now leave to you.”
The music rises a little in surprise, as we see that overwhelming surprise hit Penny and Desmond in their faces. And as the executor reads the next section, Desmond’s expression remains in disbelief:
EXECUTOR: “To Desmond David Hume: it is not often that I am proven wrong. But to the man who found the Island in my sailboat race, the man who has kept my daughter safely hidden for the past couple of years, and the man who I now realize is exceptionally gifted, you have shown your quality. So I leave to you this toast…”
And the executor reaches into the box, pulling out the bottle of MacCutcheon whisky. He hands it to Desmond, who takes it. Desmond holds the bottle, and scoffs a little, with mixed feelings of scorn with perhaps some restrained pride.
EXECUTOR: “May you continue to provide for my daughter and grandson with the same diligence you have shown these many years.”
And finally, the executor turns to Ben.
EXECUTOR: “And to Benjamin Linus: if you are hearing this, then that means you are the last one standing.”
And Ben’s eyes flicker as he thinks on all the many years he was in conflict with Charles. And the executor continues:
EXECUTOR: “It will be up to you, then, to keep watch over the Island. Although you have long considered me a threat, I have spent these years doing everything I could to draw others away from finding it. So I bid you this final warning:”
And Ben listens intently. Hurley looks concerned.
EXECUTOR: “The Hanso Foundation is a dangerous entity that will go to any lengths. Although they play a charade of docility, I have seen the symptoms of their concealed ambitions. So it is time that you shifted your Machiavellian maneuvers toward them, Benjamin.”
And there is an ominous creaking of music as the camera closes in on Ben’s apprehensive eyes. And we wooooooooosh away:
With the sound of a low bong, we now see the first Island. The camera is getting a distant view of it in its lively majesty. It’s daylight with clear weather.
In our next shot, we are at the lagoon with the old submarine wharf. We can hear the sounds of wildlife calling in the background. At the wharf, the sailboat Our Mutual Friend is docked. Near by, the Elizabeth is also docked.
Desmond and his son Charlie stand in their sailboat, rummaging through their items, pulling out fishing rods and other gear.
CHARLIE: I bet the water is really deep here.
And we can see in Desmond’s eyes, he looks troubled. Something preys on his mind as his expression sinks in deep thought. Something unresolved with him.
CHARLIE: You alright, Dad?
This catches Desmond’s attention again. He tries to conceal it with a warm smile. But he mentions:
DESMOND: Uh, I’ve just remembered I forgot something. I’ll be back.
Charlie smiles with a nod. And we get another shot on Desmond, still troubled in his eyes, as he begins to step out of the sailboat onto the wharf.
Desmond begins to head down his path. And we cut to –
A clock which we hear ticking, perhaps indicative that time has passed. It is inside one of the houses of the Barracks.
We then see Penny serving a cup of tea to another in the house: it is Tamar, who is seated on a chair. And Penny also sits down with her own tea.
PENNY: So how long do you expect we’ll be here?
Tamar honestly does not know the answer to this, and she simply says:
TAMAR: However long it takes Hugo to overcome the Hanso Foundation.
Penny nods, a dark flash of reminiscence in her eyes. As they are sitting there, we hear the door open near by. And in a couple of moments, Charlie emerges into the room.
CHARLIE: Have you seen Dad?
PENNY: I thought you were out fishing.
Charlie shakes his head:
CHARLIE: He said he forgot something.
And this hits Penny, she knows something is wrong. The music plays with a low tone of worry.
In the next shot, we are outside amidst the Barracks in the grassy mowed lawn. It is clearly a short while later, as Charlie, Penny, and Tamar seem to emerge together from separate directions on the scene again.
Penny looks to Charlie, who just shakes his head. And we can see the worry in Penny’s eyes.
PENNY: Couldn’t find him, either.
Penny then looks to Tamar:
PENNY: Do you know how to track a trail?
And Tamar nods. She says, with a reassuring tone:
TAMAR: Let’s go find your husband.
As they start to leave, Penny glances back to Charlie, and says:
PENNY: Wait here, in case he comes back.
Charlie stays and nods, a little disappointed at having to stay behind.
One more shot, overhead as we see Tamar and Penny heading across the lawn away from Charlie, before 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.
In the next shot, we are back with Ben again as he is driving the van. The music is lowly ominous as he drives closer towards his destination. We see as he crosses through an alignment of flashing red lightposts. All around are signs of worn-down industry.
As he’s driving, he turns and eyes subjects of interest on a shore near by: a wharf, as well as a dock of canoes with motors. Across the water, we can see another islet in the distance, one with a lot more forestry – the one the group started out on.
We then see another shot as Ben drives by: the broken remnants of a bridge, the other side of one we saw in a previous episode.
In the next shot, we are inside the dank underwater station, the Garden. Sawyer is hurrying through to the console room, Gaughan awaiting him.
SAWYER: What is it?
GAUGHAN: We picked something up outside.
With a few keys tapped, the screen then shows a camera feed of Ben’s van parked somewhere outside. And we see Ben starting to step out of his door.
GAUGHAN: One of yours, right?
We hold a shot on Sawyer, and in a single expression, he conveys for us the long history of uncertainty to that question.
In the next shot, we’re back outside, Ben standing near his van. Ahead of him is a short bridge across the ocean to a structure standing from the water: the elevator entrance to the Garden. There are dark clouds across the ocean in the distance.
We then hear a door opening – Ben turns his gaze left, and we see another structure on land in the background of Ben’s profile. There are stairs leading up to a door to its interior, as well as to an exterior section with some devices set up, like weather equipment. And we see it is Akamu coming out from the door.
And we see Akamu pause at the top of the steps in shock. And Ben just calls out casually:
BEN: Greetings! Dreary day, isn’t it?!
Akamu is silent.
In the next shot, we see the elevator doors ahead opening, and Sawyer stepping out. He begins to travel across the small bridge to land.
SAWYER: Ben, what are you doin’ here?
BEN: …I’m here on business.
We hold on Ben, and we wooooooooosh to:
We are behind Ben as he sits at a small circular table, other vacant chairs around it. He is in a larger room with similar tables and guests in attendance seated all around, everyone dressed formally. Ahead, they are watching Hurley, in a business suit, as he speaks at a microphone. We hear some of Hurley’s sideways theme. (0:00 – 0:45)
HURLEY: I just wanna thank you all for coming here. ‘Cause we ordered a lot of chicken.
There is chuckling from the audience as Hurley smiles.
HURLEY: But really – I wanna thank you all for supporting the Alexandra Program. It’s allowed Mittelos Light to help hundreds of children and mothers in need.
Hurley, with a twinkle in his eye, gives a subtle nod to Ben. And we see as Ben smiles back.
HURLEY: And we wanna grow this organization to keep helping people.
We hear Hurley saying that in the background, though the camera is still on Ben, as his eyes begin to drift into his own thoughts.
In the next shot, Hurley is now seated with Ben at the table. Giacchino’s musical piece has ceased, and we’re now hearing some background song playing in the speakers. Everyone around is chattering.
Ben comments hopefully:
BEN: Maybe with enough support, we’ll be able to make progress on the pregnancies.
HURLEY: I hope so.
After a moment, Ben looks down at a tablet he is holding, as taps his finger on it.
HURLEY: Whatcha looking at?
Ben looks up at Hurley, and decides to just show him. He hands him the tablet. On the screen, we see old 70’s DHARMA photos, including one or two of Ben’s childhood friend Annie. Hurley flicks the screen with his finger to scroll through.
Ben says somberly:
BEN: I haven’t been able to find out where she went after she left.
A flicker of sadness goes through Hurley’s eyes also as he looks up at Ben. And he says, relating to a loss of his own:
HURLEY: I know what you mean.
Ben knows to whom Hurley refers, and there is a moment of connection between the two as they think on their lost loved ones.
And then –
GALEN: Hello, I’m Dr. Manvel Galen, Hanso Foundation.
Galen appears over them, catching them by surprise. He reaches his hand to shake theirs, and they each reciprocate.
GALEN: Pleasure to meet you, Mr. Reyes, Mr. Linus.
He then pauses a couple of seconds, before adding:
GALEN: I understand your company has acquired a lot of our old DHARMA stock.
And they wonder why he is bringing this up. And he quickly, quietly adds:
GALEN: Just stay out of our way.
And holding an amicable smile, Galen turns and walks away. Hurley furrows his brow in confusion as he looks to Ben.
But Ben just looks calculating onward at Galen as he leaves. And he quietly comments his observation to Hurley:
BEN: He’s afraid of us.
This takes Hurley by surprise. And we have one last shot on Ben, before we wooooooooosh off:
We are back in the Tin Man station. Hurley, Walt, Kate, and Diya together, examining rooms still.
DIYA: So what are you planning to do at this station, Hurley?
HURLEY: Well, we were told this station held the power over this island.
Hurley looks to Diya for confirmation for this. But she is quiet, not sure she wants to reveal too much. Instead, she just asks another question:
DIYA: Are you planning to destroy it?
The music clicks ominously. And Hurley takes in a breath of fatigue, before saying:
HURLEY: I’d rather we just take it over peacefully.
Diya thinks on his answer, and she just shakes her head slightly.
DIYA: You won’t be able to do that with Theodor in the way.
Hurley looks gloomy in his eyes drifting them down, the music with a touch of gloom also, as they keep walking.
In the next shot, we are in the computer room with the ghosts of Jack and Locke in wheelchair.
Locke rolls up to the computer which is on its desktop screen.
JACK: So what did you wanna show me, John?
Locke looks in a general upward direction, as if talking to the station, and he speaks in a raised voice:
LOCKE: Can you show us?
Jack looks puzzled as to what Locke is shouting to. And then in the next moment, the chat panel suddenly appears on the screen. Jack leans down closer to see what’s on the screen.
We see the latest pieces of conversation, including previous ones with Sawyer (YOU: So who ARE you, really? and INITIATOR: I am the Tin Man station.) And just as well, the ones spoken to Locke with which we are familiar (INITIATOR: Hello, John. I can see you. and INITIATOR: I have a message from the Island.) We hear soft, mystical beats of the Tin Man station theme.
But we also see another message which we did not see before. It reads:
INITIATOR: You and Jack must work together to help each other. Start at the caves where you used to live.
We see Locke’s eyes and then Jack’s eyes as they read over these messages. We hear soft, ominous beats reflective of Jack’s theme and Locke’s theme.
Jack reaches down and tries to tap the keyboard, but to no avail, he has no effect on the physical object as a spirit. Nothing appears on the screen. So he just says aloud:
JACK: So what do we do now?
And then – a new message pops up on the screen:
INITIATOR: I do not know. Awaiting further instruction.
The music remains lowly mystical. We can see John’s eyes as he ponders.
And Jack starts to stand back upright. And he starts to turn – and is startled back with a slight gasp.
Kate is stepping into the room, unnoticing of Jack. She walks right past him, as Jack’s gaze somberly follows her, the music beating with a soft tension.
Locke watches as Kate starts to approach the computer, as she leans to look at the screen:
And she sees it – the latest few messages. We see emphasis on the mention of Jack’s name.
And Kate looks confused – and haunted. Could it be? The music beats darkly. She slowly starts to back away, turning to leave.
John looks to Jack, who looks burdened. And we cut away –
We are now in the corridors of the underwater station again, Theodor quickly proceeding through in crutches, and his advisor Belle following quickly behind him.
THEODOR: Belle, I want you to keep watch on Claire and Miles.
But Belle is insistent:
BELLE: I should be with you to meet this new visitor.
But Theodor halts, raising his hand a little, as he says firmly:
She pauses, looking confused at his order, and a bit frustrated at being excluded. And he says softly:
THEODOR: Do you trust my leadership, Belle?
And Belle catches herself in her inclination to argue. And she nods with an earnest loyalty, with a couple of soft touches of music:
BELLE: Always, Theodor.
Theodor slowly nods.
THEODOR: Then leave this one to me, for now.
The music beats a little ominously. And Belle nods, though still unsure of his intentions.
Our last shot is of Theodor continuing down the corridor, leaving Belle behind, before we cut to black.
We see Sawyer, Ben, and Akamu heading down a dank, dimly-lit corridor: and up ahead, Theodor comes to greet them, hobbling to a stop before them.
THEODOR: Hello. I am Dr. Theodor Kant. It is a pleasure meet you, Linus.
He reaches out a hand. And Ben reaches amicably back, saying:
BEN: I wasn’t aware you knew me.
Theodor doesn’t comment on this. And releasing his hand, he asks:
THEODOR: To what do I owe the pleasure?
And Ben says:
BEN: I’m here to negotiate an alliance.
There is a note of suspense. And Theodor smiles to this.
THEODOR: Talks with Reyes fell through.
Ben nods, and he says with an enticing tone:
BEN: I have something better for you.
Theodor raises a brow in curiosity, the music still softly whistling in suspense. And he just nods slightly, starting to turn.
THEODOR: Why don’t I introduce you to the Garden?
Ben says professionally:
BEN: I’d love to see it.
Theodor starts to turn to leave, Ben and Akamu joining him as Sawyer falls behind. And as we follow Ben, we wooooooooosh:
We hear Eloise’s theme (4:08 – 4:48) as we see Ben and Hurley, both formally-dressed, emerging into the familiar round room of the Lamp Post station, a scratched-up circular map of the earth on the floor, a pendulum hanging at a rest in the middle, and computer equipment all around the room. And ahead of them, we see a white-haired woman in dark clothing proceeding towards one of the drawers in the room. And we know who she must be…
We hear her speak in her refined, enigmatic voice:
MS. HAWKING: This station was made to track the Island, but it was able to identify exotic locations all over the world.
Ben and Hurley look uncertain of what she is onto, but almost suspect it.
BEN: What are you saying?
Eloise pulls a folder out of the drawer, closing it back. And she turns to face them, looking wearied by the years. And she steps forth to the two of them, her heels clicking the floor.
MS. HAWKING: The Hanso Foundation is in possession of another island.
Ben and Hurley look dumbstruck as she hands the folder to the latter. Hurley starts to thumb through the folder.
MS. HAWKING: In there is everything I know about what they called ‘Asset B’, which is very little.
HURLEY: Site B, like in Jurassic Park?
Ben then takes the folder and starts to look through it. And Hurley asks him:
HURLEY: You never heard of this?
Ben shakes his head as he looks through the folder, and remarks:
BEN: No one can presume to know every secret. Especially when so many have worked to hide them through history.
And on that, Eloise adds:
MS. HAWKING: Jacob knew about it, but instructed me not to reveal it until the right time when the Island prompted it.
There are a few mystical notes of Jacob’s theme, and we see a look of surprise in Ben’s eyes to Eloise’s latest statement.
HURLEY: Walt’s dream led us to the Egress which led us to this. So I guess the Island does want us here.
Ben thumbs through the folder still, and looks back up to Eloise:
BEN: Do you know what awaits in our future?
She shakes her head. And she says:
MS. HAWKING: Unfortunately, my foreknowledge was limited to what Jacob revealed to me. So I only tried to make history proceed as he instructed.
BEN: Alright. Can you track the location of this other island?
She shakes her head again, however, with more bad news to give:
MS. HAWKING: It seems that Asset B moves too quickly to be reached. I believe only Mr. Hanso himself may know how to get there now.
There is an ominous ring to what she has said, and it strikes Ben with surprise.
BEN: Thank you, Eloise.
As he and Hurley start to turn to leave, Eloise halts them with one more comment:
MS. HAWKING: Please do keep an eye on the Humes. I haven’t heard word of them in weeks.
There are a few soft notes as Ben and Hurley pause, taking in what she said – and also a few ominous notes. And then she adds, her voice cracking with emotion:
MS. HAWKING: With Daniel gone, and – [hesitating] – Charles. – I suppose now Desmond, Penny, and their son are the closest thing to family I have.
A sentimental variation of Eloise’s theme, perhaps mixed in with some of Desmond’s theme, plays. And Ben and Hurley nod, empathizing with her in her rare show of feeling.
And Ben starts to turn to leave, as we wooooooooosh away:
We arrive at the computer room in the Garden with Theodor, Ben, and Akamu; and of course, Gaughan is already at work there.
THEODOR: So Eva, anything to report?
And she shakes her head in disappointment:
AKAMU: No change in the weather patterns. I’m afraid we’re still stuck here.
Ben looks curious to her remark, and Theodor just nods, disappointed but unsurprised. And she turns to Ben and explains:
AKAMU: We were hoping by chance that a route off the island may have opened for us.
THEODOR: Mr. Linus, I know about you because we still have contact with the Hanso Foundation through here.
And looking at the screen, he then says:
THEODOR: Gaughan, show us the feed.
GAUGHAN: Yes, sir.
And he brings up the cameras’ feeds on the screens in the room. We see rooms from all across the station at once. We highlight specific areas, including a room with a window showing weather equipment outside (perhaps the interior of the building we saw earlier), a room with computer equipment and some kind of bear skeleton display, and rooms and areas with basic day-to-day living needs, and of course the room with the pool which we saw from the previous episode. There is also a camera on the very room they’re in.
AKAMU: These are our fields of research here at the Garden. Of course, I’ve never overseen much progress since I took on lead researcher of SAMSARA.
Ben asks curiously:
BEN: But it seems there were quite a few accomplishments in the past?
Akamu nods slowly.
AKAMU: Yes, back when Professor Mishra was head of research.
Ben examines the screens still, and we see in his eyes as he processes something deep in his mind – or heart. And he says with a crack in his voice:
BEN: Anything on pregnancies?
We see a calculating flash in Theodor’s eyes as he takes in Ben’s remark – and its delivery.
THEODOR: No… We made a decision not to have children here.
We have one more shot on Ben, before we cut to –
Sawyer entering the sick bay. Claire is here with Miles, and Dr. Horvath is also here. Horvath appears to be examining Claire, seeing how her eyes respond to a flashlight. And she smiles warmly and says:
HORVATH: Your response to stimulus is good. You seem to be doing fine.
Claire nods with a smile.
CLAIRE: So we can go?
Horvath quickly advises:
HORVATH: I wouldn’t advise leaving the station.
Claire shakes her head.
CLAIRE: If this place can help my son, then I’ll help you with what you need.
Horvath smiles and nods.
HORVATH: That’s good.
She turns to leave, passing Sawyer as he approaches the two. And Miles inquires:
MILES: I heard Ben was here, what’s he doing?
SAWYER: I guess Santa sent his elf to make a truce.
We have one more shot on Miles and Claire, before we cut to –
We see a paper being held by a hand. It has complicated mathematical calculations on it. The camera pans down to the bottom of the page, where we see the final result: the numbers 4 8 15 16 23 42.
We see it is Ben holding the paper, as he sits at a round table, Theodor on the other side with a briefcase, his crutches leaning on the table. They are in a wide room, a kind of lounge, with various SAMSARA members seated around tables and sofas. There is some relaxing music on record in the background of the room.
THEODOR: This equation evaluated mankind and the environment and predicted when they would wipe themselves out. DHARMA and then SAMSARA were trying to change the numbers through experiments. – But there’s more…
Theodor opens the briefcase, and pulls out items. And he explains as he speaks:
THEODOR: Those numbers predate this equation. Through research, it was discovered that they had emerged in patterns all over the world throughout history –
And as he explains, we see various manuscripts, like an old parchment in Medieval Latin with Roman numerals corresponding to the Numbers, and then an even older-looking piece of papyrus of hieroglyphics with Egyptian numerals also corresponding to them. (A viewer who translates these will find that they seem to be typical writings from ancient government officials or religious leaders or academics on topics of philosophy or burials.) There are also other papers, likely manuscripts from other old languages like Sanskrit and Arabic, making similar points and showing the Numbers in their own way.
THEODOR: – and even before history.
He also shows photos of an archaeological site of ancient cave paintings of humans and animals with tally marks corresponding to the Numbers. These moments are accompanied by mystical notes of music.
Ben looks at the material with a deep curiosity, and then he looks up at Theodor. And he remarks, as we hear a little bit of Hurley’s “Numbers” theme:
BEN: Hugo would be very interested in this. So did you find a way to change the Numbers?
We hold one more shot on Theodor as he’s about to answer – a dim flicker in his eyes, before we cut away —
In our next shot, we see Hurley outside again in the dreary, almost grayish environment. He’s sitting on a bench. He is taking a quiet moment to himself – something is weighing heavily on him. His eyes are watery and red – he’s in tears. He looks deeply sad or afraid.
Kate happens to be walking up near by, and she spots him in his moment of distress. And it hits her – and she goes to approach him quickly.
KATE: What’s wrong?
Hurley blinks in his tears, and says in a dim tone:
HURLEY: I’ve just been thinkin’ about death.
She sits next to him, offering a consoling arm around his back, her eyes empathetic.
HURLEY: I can’t talk about everything, it’s my baggage.
She gives an understanding nod, and just stays there for him, not pressing on a question. And he surprises her with a confession –
HURLEY: Did I ever tell you I can talk to dead people?
Kate looks surprised, and confused as to how to take what he just said. Indeed, this is the first time she has actually heard of this. And Hurley continues, pouring out:
HURLEY: But in all this time, I’ve never seen Libby. I don’t know why she hasn’t talked to me.
Kate, though still not sure how to take what he has said, just keeps listening to him. And we hear soft notes of the “Life and Death” theme mixed with Hurley’s more “tragic” theme. And he then further says, heavily:
HURLEY: So many people around me have died… but I think hers hurt the hardest.
Kate remains consoling to Hurley, as the two friends sit there together. Hurley looks on, his heart burdened. And in Kate’s eyes, we can see a thought cross her mind as she takes in all he’s just revealed. Emotion is getting heavy in her eyes, too, as her mind drifts to similar thoughts.
And the last note plays, before the screen cuts to black.
A door opens, and Ben quickly leads the way into a comfortable living room area – following behind him are a rain-soaked Desmond, Penny, and 11-year-old Charlie. It’s clear now this is a flashback.
They are now in a wide room with sofas and chairs around. Hurley is here to greet them, but with a worried look for them.
HURLEY: I’m glad you guys are okay.
Desmond nods. He and his family look exhausted – and frightened. And oddly comfortable with trusting Ben by this time.
PENNY: Thank you for seeing us. I don’t know what we’d do –
Hurley gives a warm smile and nod that conveys a “You’re welcome”. And they all go to sit and rest.
BEN: Can you tell us more about what happened?
Desmond nods, and begins:
DESMOND: The Hanso Foundation had been harassing us for months.
PENNY: – When we threatened the police, they blackmailed us with my father’s dealings.
And then Desmond says lowly:
DESMOND: And they tried to take Charlie.
We get a quick glance on Charlie, as he looks worried, but seems to handle himself with confidence.
PENNY: So, we tried to get away on our sailboat. But they tracked us.
DESMOND: We’d made it all the way to Bora Bora when they came at us again.
And Desmond reaches into his pocket, and pulls something out. And we see it’s photos folded up. He then starts to unfold them, one at a time –
DESMOND: They had these on them.
And the music turns lowly dark: we see photos of Ji-Yeon, Aaron, and Charlie in them. And then with a particularly ominous note – we see a photo of Hurley as well.
Hurley looks almost horror-struck. And Ben looks startled – but reflective as well.
DESMOND: What do they want from us?
Hurley looks perplexed. But thankfully, Ben intuits an answer fast –
BEN: It’s about Hugo… It’s a chain manipulation. They know Hugo is invested in his friends, and his friends are invested in their own kids.
Hurley looks burdened by this prospect – that his friends, their kids, are being attacked to get to him. The music darkly reflective of Hurley’s theme. And he turns to Ben:
HURLEY: So what do we do?
And Ben looks deeply calculating, as we wooooooooosh away:
Ben looks reflective of the past still, as he sits alone at the table in the Garden’s lounge. While he’s thinking, he happens to spot something.
Reaching into the open briefcase on the table out of curiosity, he pulls out another photo – this an old, faded black and white photo. There is a woman on it, who looks to be in her 30’s. She is wearing a tichel.
And we hear a few notes softly of Theodor’s theme, as we see Ben curiously examining it, as he intuits something meaningful about it.
And then Theodor emerges back into view with a cup of coffee attached to a holder on a crutch. Ben sets the photo back inside as Theodor sits back down.
And Ben casually observes:
BEN: You’re not really interested in that Equation, though, are you?
Theodor’s brow furrows slightly with surprise. But he admits:
THEODOR: That’s true. What I really joined SAMSARA for was to find a way to heal the sick.
And there is a soft note to this, and then a cold note as Theodor looks calculating as to how Ben will take this piece of information. And Ben gives a slight nod, understanding:
BEN: I’ve tried for decades to heal a sickness that plagues pregnant women on my Island.
There are a few soft notes, more reflective of Ben’s theme. And Theodor almost smiles.
THEODOR: Why haven’t you?
And Ben says, in a rough tone of voice:
BEN: The truth is, Hugo has disappointed a lot of us.
Theodor nods as he takes this in. And Ben continues:
BEN: I need a group like SAMSARA to properly study the Island.
And there is an ominous note to this. Theodor raises an eyebrow, but he seems almost pleased with Ben’s remark. And then Ben coyly asks:
BEN: Why have you been so welcoming of me?
And Theodor just admits, revealing:
THEODOR: We have a list of 9 assets we’ve tried to collect to the advantage of our goals. You are the last on the list, Asset I.
Ben nods, and looks appreciative of the candor. And he adds onto it:
BEN: You know, I haven’t told Hugo why you’ve really recruited three of our people.
Theodor looks almost struck by this, but trying to retain his calculating calm.
BEN: Ford, Littleton, Straume? They’re bait.
Theodor’s expression seems to almost convey – has he been caught in his true intentions?
BEN: Why is it you want Hugo?
And Theodor takes a breath, before explaining:
THEODOR: Hugo – Asset H – is the key to your Island. And Asset D – Diya – now holds the key to this one.
Ben nods, an amicable yet dark smile appearing on him. And he says, almost in a uncharacteristically humorous tone:
BEN: Oh, you don’t need Hugo for that. I ran the Island for 15 years before he showed up.
And then Ben icily adds:
BEN: How do you think he was so successful when he took over?
Theodor nods, seeing what Ben is saying. The music remaining in a low, downward spiral.
THEODOR: Ah, so you’re the man behind the curtain?
Ben, still smiling, says:
BEN: As long as you’ve got me, you don’t need him. He’s an obstacle.
Theodor almost smiles in a dark amusement.
THEODOR: Why are you here, Mr. Linus?
Ben looks down for a second of pause, looking tense in his eyes, before he states in a confessional tone:
BEN: I’m really hoping for an alliance with you.
This is what Theodor was expecting him to say. And Theodor’s expression looks amicable, but not too eager.
THEODOR: You would really turn on Hugo?
Ben shrugs and just casually remarks:
BEN: These people really shouldn’t trust me.
Theodor smiles, and asks a question that naturally arises from this:
THEODOR: How do I know I’m not the one you’re manipulating?
And Ben has no answer to this.
THEODOR: Prove it to me.
And we hold up close on Ben, as he just gives off an almost laughing smile for a second to Theodor’s request. And we hear a few dark notes of Ben’s theme. And we cut away —
— With a bong, we are now observing our Island again, majestic in its green beauty.
In our next shot, we see Desmond is wandering through the lively and lush green trees, wildlife calling in the background. The music is low and mystical, and maybe vaguely reminiscent of Desmond’s theme. He wanders slowly through, taking one step at a time, looking around, squinting his eyes trying to examine the area.
And finally he pauses to a stop. And with a sigh, he looks around. He’s lost.
And then he turns as we hear a creaking from the jungle. And then –
Penny quickly emerges through the jungle, followed closely by Tamar. And here Desmond is – having not found what he was looking for, and now caught.
PENNY: We were worried! – What are you doing so far out here?
And Desmond just sighs. He’s not sure what to tell her. And Penny begins to break out in her long-unspoken frustration and worry:
PENNY: Desmond, this has got to stop. – I know something’s been wrong for the last 10 years since you got back from here. It’s like a part of you has been missing.
And Desmond knows he can’t hide it any longer. She knows him so well, and she has already realized so much by now.
DESMOND: Pen – do you remember me telling you – your father blasted me with electromagnetism. And I went to another place.
And we hear a few notes of Desmond’s “flash-sideways” theme reminiscing. Penny remembers Desmond having told her this over the years, but she still does not understand.
And he speaks his next statement, we hear a softer variation of the Heart of the Island theme (similar to 7:00 to 7:09 but softer).
DESMOND: And then I was taken to what they called the ‘Heart of’ this island. And there was a beautiful golden light there.
Desmond finishes his story:
DESMOND: I thought it would take me back to that place. But… it didn’t.
And we see Desmond clearly troubled. His brief experience in the flash-sideways world never quite left him. We can see in his eyes that it has quietly haunted him all these years. The music quiets again.
PENNY: Why are you out here?
And Desmond further confesses –
DESMOND: I’ve been trying to find it again. I just can’t recall the path…
And Penny is practically in tears at this point, realizing the depth of his obsession, why part of him has seemed so distant or withheld these past years. And why he was so satisfied being back on this Island.
PENNY: Des, let’s go back.
And he looks down, we can see it still weighing on him. And then Tamar intervenes –
TAMAR: I understand, Desmond.
And he looks confused –
DESMOND: How could you?
And she explains, drawing from her own life:
TAMAR: My older sister was obsessed with coming to this Island, all her life. I begged her to stay with me, but she said I was weak.
There are a couple of soft notes as Desmond listens. And she says, earnestly from the heart:
TAMAR: Please don’t lose sight of those who really love you.
And with a couple of more soft notes, we see Penny’s reaction, and then Desmond’s as he finally begins to nod in agreement. And slowly he comes closer to join them.
And he softly says:
DESMOND: Let’s go.
And the three of them start to turn to head back. And the screen cuts to black.
Desmond’s Theme (0:44 – 0:59) softly plays as Desmond, Penny, and Tamar head through the vibrant green jungles of the Island. Desmond’s mind still seems somewhere else, and Penny is just hoping to get the family back together. Tamar is leading the way through.
As they are walking through, the music is interrupted – we hear a gunshot. And then a man’s voice yelling an aaargh! We hear a boar squealing.
And the three of them urgently head in that direction, to see what happened. And they come up to a scene:
Bernard is flopped on the ground with a rifle, and a bloody injury on his leg. And near him –
ROSE: Oh my God, Bernard!
However, he’s insistent:
BERNARD: It’s okay, I’m okay.
And the three come clearly into view upon the Nadlers. A pained Bernard struggles out:
BERNARD: Fancy meeting you three out here.
Rose turns to them:
ROSE: Help me get him home!
The three nod into action, and Desmond reaches to help Bernard up under one shoulder, and Tamar taking him under the other.
DESMOND: What happened?
Rose says sharply:
ROSE: Oh, he just thought he’d go Rambo on the boar population ‘cause they’ve moved out this way!
BERNARD: And you almost got hurt! I told you to stay home.
ROSE: And let you get mauled by one of those things?
BERNARD: In case you didn’t notice, I did anyway…
Desmond and Tamar keep helping Bernard move, as Rose goes with them holding Bernard’s rifle, and Penny with them also. And the scene cuts away —
— With the sound of a low bong, we now see the second Island. The camera is getting a distant view of it, showing us the same dreary scenery of the four islets pointed towards the central gulf.
We are inside the Tin Man again, in the computer room. Hurley is now in here, playing the chess game on it idly. And seated in here with him are Jack and Locke. Hurley still seems to bear a heavy depression in his demeanor.
As he puts a piece into place on the computer screen, he asks the two ghosts:
HURLEY: How do you guys feel about Ben?
We see Jack shoot an uncomfortable glance towards Locke, and we see Locke himself looks uncomfortable with the question as he looks down. But he manages to speak up and say something positive:
LOCKE: I’ve seen the both of you working together over the years. He doesn’t seem at all like the man he used to be.
Jack nods, agreeing with this:
JACK: I think he’s very loyal to your leadership.
Hurley makes a weak smile. And in an almost cracked voice, he simply says:
HURLEY: I trust Ben.
And he’s suddenly startled as he hears his voice coming into the room-
BEN: I’m glad you do.
Ben emerges into the room, having finally arrived back. Locke and Jack are surprised for a fleeting second as he comes in. Locke in particular looks a little uncomfortable.
Hurley turns to him, giving a bigger smile, though still carrying something heavy in his eyes, before asking:
Locke is gone in the next shot, though Jack is still mentally seated on one of the chairs. Ben nods to Hurley’s question, ready to tell him. And he starts to take a seat where Jack is sitting!
Thankfully, in the next shot, Jack has vanished as Ben sits down. And he begins:
BEN: I know a little more about those numbers.
And we have a quick shot on Hurley as his interest is piqued, before we cut off –
In the next shot, Jack enters one of the rooms elsewhere in the station, joining Locke. And we recognize this as a room we saw briefly in a previous episode: there is a round structure protruding up through the middle of the floor, on top of it a slab of metal like a hatch. Marked on the structure is the title: “RABBIT HOLE”.
We hear a few soft notes of the Tin Man theme. Locke is holding his hand to the structure curiously as he sits in his wheelchair, and we also hear a low magnetic hum from the structure.
LOCKE: I don’t know what this is, but I can’t get through it.
Locke places his hand back as Jack also reaches to hover his hand over it for a moment. And Jack glances to Locke, noticing his troubled expression. Sensing what he’s thinking about, he asks:
JACK: You alright? You seemed a little bothered when Ben came in.
Locke is a little struck that Jack noticed, but he just nods his head. And with a sigh in his voice, he says:
LOCKE: I’m fine.
As Jack thinks a moment, there are a few soft notes of his theme. And then he confesses:
JACK: I thought I killed you.
This also takes Locke by surprise and uncertainty. And Jack continues:
JACK: When I got your note.
And Locke smiles – realizing Jack is talking about his suicide note. And a part of him glad that Jack did receive his last ditch plea. And he clarifies:
LOCKE: Ben talked me out of it, before…
And Locke trails off, not needing to finish his sentence, as they both know the disturbing event to which he refers.
Jack nods, staring down at the “Rabbit Hole” hatch, as he idly remarks:
JACK: You know, I don’t think he’s after power anymore…
But we feel a silhouetted presence – something tall on Jack. And startled, he turns and looks –
And it’s the darker Locke persona, now standing there. The white-shirted Locke in a wheelchair has vanished. There is a low hum, an eerie variation of Locke’s more mysterious theme. Jack looks startled in his eyes, and is speechless. This is the first time he’s seen –
LOCKE: Jack, I’m gonna be forward with you.
And Jack stands speechless still, as the darker Locke says icily:
LOCKE: I don’t care what that computer said. We’re not together. You were never there for me when I needed you.
The music is still beating eerily with a tension, Jack still looking tense in his eyes, and a weight of guilt now on him.
LOCKE: When you see me in the chair, I’m weak. But when I’m strong enough to stand –
Jack looks unnerved still, looking into the icy dark eyes of Locke. And he’s not sure – is this Locke? A split personality? Or something – someone – more sinister?
LOCKE: I’ve got work to do for the Island. You just stay out of my way, whether I’m in the chair or not.
The music beats darkly still, a variation of Locke’s theme. And we can read the conflict in Jack’s eyes. Locke, here, is clearly telling him to back off. And yet – was not being there for him the catalyst for this darker alter ego? And Jack says softly:
JACK: Let me help you now.
And Locke stands staring into him icily still. And he says, very sharply and strikingly:
LOCKE: You don’t have what it takes.
And we can see the reaction in Jack’s being – it shakes him. This is the most breaking thing he could say to him. And he can’t find the words to say anything further –
And in the next shot, we see Jack is standing alone in the room. Locke, of either persona, is gone. Jack looking confused, conflicted, guilty, burdened, and wary… We cut away –
Back in the computer room, Ben is sitting with a burdened Hurley, having just explained what Theodor had said about the Numbers. Hurley still looks mystified, not sure he’s any closer to an answer.
HURLEY: So… can the Numbers be changed?
And Ben sits, looking a little ominous in his eyes. And he imparts one more piece of new information which we had not seen from the scene of their conversation:
BEN: Theodor said, the more they try to change them, the more inevitable they seem.
We hear the “Numbers” theme brush through. And Hurley’s brow looks furrowed thoughtfully. And he darkly remarks:
HURLEY: Kind of like the Island’s will.
And we have another shot on Ben – looking dark and maybe anxious in his own eyes. And we cut away –
We are now outside the station, somewhere else across this islet, more close to the abandoned houses. And Kate walks up into view, approaching Walt. Kate is holding something – we get a closer look on it, and it seems to be a block of something with wiring – and a timer. The music beats ominously.
KATE: I found this in one of the buildings. Maybe something from their war.
Walt looks a little darkly worried at this object she’s holding, something that seems unmistakably like an explosive.
WALT: Why’ve you got that?
Kate can feel Walt’s worry, and she too feels uncomfortable with it – but she feels it’s smart.
KATE: Just a precaution.
And Walt looks apprehensive in his eyes still. And we cut away –
We are back in the Garden. Sawyer is sitting in the lounge area at one of the tables, thinking quietly to himself. He holds a book he’s nabbed, Under the Volcano, as he reads through it somewhat though not entirely attentive.
And as he sits there, Foster suddenly appears near him, catching him off guard. And he just takes a seat, as Sawyer wonders what he’s here for.
SAWYER: Got somethin’ I can help you with?
Foster nods. And he gets straight to the point:
FOSTER: I want to know where you stand with us.
Sawyer says frankly:
SAWYER: I’m here to help with security. If you’ve got a problem with me on your turf-
But Foster shakes his head, and says:
FOSTER: No – I need to know I can count on your help.
And Sawyer looks surprised by this. Nodding, he says:
Foster looks worried in his eyes, before he remarks:
FOSTER: I think things are gonna fall apart very soon.
There is an ominous note to this, as we take in Sawyer’s reaction.
Foster gets up to leave, and we hold on Sawyer’s expression once more, before we cut away –
We are now just outside the Tin Man again, Ben walking away towards a couple of parked vans. Hurley stands just at the entrance of the station.
And Ben looks hesitant, before turning to Hurley and saying:
BEN: There’s one more thing. … I arranged you to meet Theodor on their islet at 9 in the morning.
Hurley, still carrying a weight in his eyes, just gives a slight nod, and quietly says:
As Ben starts to open the van door, he pauses again, in thought. And he looks dark, almost haunted in his eyes. And looks to Hurley again, and says:
BEN: I’m sorry, Hugo. … But I can’t follow your plan anymore.
There is a heavy, dark note of music to this. And Hurley’s face seems to drop even more than it already has.
HURLEY: Dude, this isn’t about what you want.
Ben lets out a sigh of exasperation, and we can see in his eyes how tired he is of hearing this. And Hurley calls out, his voice breaking:
HURLEY: We’ve gotta do what the Island wants!
And suddenly SLAM – Ben throws the van door back shut hard in a release of anger, and facing Hugo, we can feel the a poison eating him from the inside as he suddenly snaps out in a voice that is tired and yet somehow brutal at the same time:
BEN: I am sick of the Island!
And then the weight of what he just said hits him, it hits him hard. He is shocked by what he just said.
And there is almost a tear in Hurley’s eye. He understands Ben’s frustration. But he needs him.
And Ben says firmly, though his voice also cracking:
BEN: Your way is the wrong way.
Ben opens the van door again, and finally gets inside. And Hurley calls out one last time, his voice sounding more desperate:
HURLEY: Please! I’m counting on you, Ben!
Ben quickly pulls out to drive away. The musical notes are a mix of soft and dark at the same time. And we can see the burden still heavy and dark on his eyes as he steers.
In the next shot, we see Walt walking across the grass with Diya, perhaps in the direction of the station. And the van is driving through.
Ben decides to pull up near Walt and Diya, and rolls the window down. And Walt comes up to the window.
WALT: What’s up?
Ben looks to Walt, and then to Diya who is standing by him. And Ben says:
BEN: I’ve arranged a meeting with Theodor tomorrow. He wants both Hugo and Diya there.
Diya looks skeptical and suspicious of this.
DIYA: How can you know that’s safe?
But Ben doesn’t look convinced himself. And then looking to Walt, he says in an earnest voice:
BEN: Just as a precaution, I’d rather you stay behind, Walt.
We can see that Walt doesn’t like this suggestion – though he is also wise enough that he won’t argue against it.
Ben then turns to face the windshield again, and slowly begins rolling the vehicle again.
And we hold on Ben’s anxious, apprehensive expression as we wooooooooosh to:
A limousine pulls up on a street, as we hear an energetic mix of Ben’s theme with the Island exploration theme (similar to 0:40 – 1:00), and the doors open: coming out of either side is Ben and Hurley, both dressed very formally in business clothes, with briefcases, and both looking snazzy in sunglasses.
Ahead in their view: the camera pans up to show us a tall building a dozen or two stories high.
In the next shot, we are now inside, Ben and Hurley, still in sunglasses, walking together through a hallway, driven with purpose. Along one of the walls is the “HANSO FOUNDATION” logo.
They slow to a stop as the music quiets into silence, the both of them taking off their sunglasses. Ahead of them is the entryway into a boardroom.
Ben advises quietly to Hurley:
BEN: Remember, we’re trying to win a majority to our side. Don’t mention the attacks, or they’ll take that as defamation.
Hurley nods. And the two quickly head through into the boardroom.
Inside is a long, large table, with chairs seated all around. Shareholders, directors, all already seated, assistants standing by them. Name labels before each seated individual.
At the end of the table is a balding man in horn-rimmed glasses, about in his 50’s (actor indeterminate). His name label reads “ELEVUS HANSO” and beneath that, several titles, including “Shareholder”, “Chairman”, and “Chief Executive Officer”. He looks very collected and professional in his demeanor.
Ben then shoots a glance: we see Galen is also here, seated. On his name label, “MANVEL DOUGLAS GALEN”, and beneath that, “Shareholder”, “Director”, and “Chief Technology Officer”. He has a smile that seems to mask something sinister.
And Elevus Hanso greets Hurley, in his Danish accent:
HANSO: Mr. Hugo Reyes, welcome. We await your proposal.
Hurley’s nervousness begins to lift up into more confidence as he smiles, and he begins.
HURLEY: Thank you. My proposal here today is reform.
And this moment fades into a later moment of the meeting, Hurley talking enthusiastically, making gestures with his hands, while his “Numbers” theme beats with soft, light notes.
HURLEY: -Mittelos Light has made breakthroughs at a way faster rate than the Hanso Foundation for the past 7 years-
The moment fades into yet another moment as we see the boardroom listening intently to Hurley’s proposal.
HURLEY: -your decline in stock value, what I’m offering is worth more-
And then the moment fading to an even later moment of Hurley at a whiteboard, tapping a marker across a diagram of circles he’s drawn and words he’s written.
HURLEY: -so everyone gets more in the long run-
Fading to a later moment, as Ben watches and listens, as though he’s used to seeing Hurley do this all the time.
HURLEY: -so that’s it. The Hanso Foundation can do more as a subsidiary under Mittelos Light, and I promise an investment deal that will get you more to take home to your families than you could ever get without us.
Hurley catches his breath, as his theme music makes a few last notes into silence. And we see as the board of directors all ponder everything he’s just proposed, some of them chattering. Mr. Hanso, in particular, has a twinkle of enthusiasm.
And then, from his seat at the table, Galen begins to speak up in his raspy British accent:
GALEN: My fellow shareholders and directors, need I remind you that my division oversees a vastly more resourceful asset than Mr. Reyes has demonstrated he can possibly hope to match.
One of the directors speaks up in some accent:
DIRECTOR: Mr. Galen, you have made empty promises for the past 16 years about your resource.
But Galen is adamant, going into something of a speech:
GALEN: Now, now. In the past decade, I took over our company’s science division, and reformed it to a more ethical standard than my predecessor had set.
And he says in a persuasive tone:
GALEN: All I ask is that you give me just a little more time to explore our resource before you sell this company to an inexperienced competitor, however charitably his reputation precedes.
As Galen speaks, we see the continued reactions of the other directors, some still thoughtful and indecisive, others nodding their heads in agreement with Galen’s comments.
Galen looks cornered for a moment, but quickly tries to mask his expression with a devilish smile to Hurley and Ben, both of whom look worried as to their proposal’s success. And we get one more quick shot on Mr. Hanso, still pensive at Hurley’s proposal. And we cut off –
– In the next shot, it is a while later. Ben and Hurley are entering into a smaller room somewhere else in the building. The tone is quiet. And ahead of them is Mr. Hanso, as he looks up at two portraits on the wall of two older men through his horn-rimmed glasses. One has the name “Alvar Hanso” written at the bottom, another is “Tovard Hanso”.
HANSO: My grandfather founded this company, dreaming of a better future for our children.
He also looks to a third portrait on another wall, that of an old sailing ship.
HANSO: …He was also interested in recovering our lost family history.
Elevus Hanso turns to them, as Hurley and Ben approach. And he says, frankly:
HANSO: The board will go along with your proposal, if and only if Mr. Galen’s asset is cut off.
And Ben says, correctly:
BEN: The other island.
HANSO: They still hold out for its potential.
Hanso starts to quietly pace away, Hurley and Ben slowly walking with him, as he continues:
HANSO: My grandfather and my father, though advanced in age, were in excellent health. And then both suddenly died shortly after each other in the last decade.
HURLEY: That’s weird…
And Hanso ominously replies as he slows to a stop:
HANSO: Not really, if you think about it.
There is an ominous note, and Hurley and Ben are not entirely sure what he is insinuating.
HANSO: The only reason I am still alive, is certain individuals in the company came to realize I know how to find the second island again.
Hurley and Ben are quiet, as Hanso then says:
HANSO: I believe we have both been manipulated to this very meeting.
There is another ominous musical note to this. And Hurley and Ben look a flicker wary. And he turns to face them, saying:
HANSO: Mr. Reyes, rumor has it, you have replaced a man named Jacob as the man in charge of the island where my ancestor shipwrecked.
And as he says this, we hear another ominous note, mixed with mystical notes of Jacob’s theme.
HANSO: So can I trust you?
Hurley nods slowly, and sincerely.
Ben then asks:
BEN: How do you know Jacob?
There is a pause on Hanso – and he says:
HANSO: Because he told me the secret path back to the second island.
And there is another low note, as we hold on Ben’s expression of surprise, and we wooooooooosh off:
We are on Sawyer, as he stands in the dank corridor of the underwater station, looking gloomily through a porthole. And Ben soon quickly emerges from the shadows of the corridor, back again. He has a look of anxiety that we can see.
BEN: You alright, James?
Sawyer turns to look at him. And then he looks back out at the ocean.
SAWYER: Just thinkin’… About Juliet.
Ben steps a little closer, wondering of Sawyer’s point. And he continues:
SAWYER: If I hadn’t kept Juliet stuck on that island 3 years…
There are a few soft notes of Juliet’s theme beginning. And Ben takes in what Sawyer says for a moment. Nodding, he turns to leave Sawyer to his privacy – but then stops himself.
Ben turns back to face Sawyer.
BEN: I’m the one who kept her stuck for 3 years.
Sawyer turns and faces Ben again.
BEN: She stayed with you for 3 years because she loved you.
The soft notes of Juliet’s theme transition into Ben’s theme. And Sawyer looks oddly touched. Ben starts to leave again – and Sawyer asks, softly out of curiosity:
SAWYER: Why did you keep her there?
Ben halts and hesitates a moment. And then he confesses:
BEN: I wanted her to be someone she wasn’t.
And then after a moment, Ben continues forward. We cut off –
And then in the next shot, we are elsewhere in the station. And Ben just happens into –
THEODOR: Did you set the meeting?
The music beats softly yet darkly, as he stands there in his crutches. And Ben, in a way that seems to reflect those beats, says:
BEN: Yes. Tomorrow morning, as agreed.
THEODOR: Your chance to prove your allegiance.
Ben is hit with apprehension in his eyes again. And then Theodor continues:
THEODOR: Go and find my advisor, Belle, and she will inform you on the details.
Ben nods. And starts to head on again. And as he walks away, we make note of a calculating, satisfied look in Theodor’s eyes. And we cut off –
In the next shot, we are seeing a room empty of people. It is a shabby bedroom of sorts in the station, with a cot, tables, drawers, a bookshelf and the like set around. There is a knock on the door.
And then the handle screeches turned, as the door opens –
BEN: I’m sorry, Theodor sent me to find you, I’ve been looking all-
But as he comes inside, he sees no one is in here. And he stops himself in his speech. So he just slowly wanders through, taking a moment to himself as he thinks, thinks about what exactly he is doing.
He starts to drift towards a porthole in the room, the blue ocean visible on the other side. And he turns, wandering idly, as he looks around.
And then we see a silhouette of something in the foreground, something on a drawer. Ben is standing in the midground, looking facing it, squinting his eyes to see what it is. And he comes closer to it.
And he takes the silhouetted object of the drawer, holding it into a clearer view for him.
And then we see – it’s a hand-carved wooden doll male, wearing white and blue. We see the marker-drawn dotted eyes and nose and smile. There is a soft note of music.
And Ben looks up, suddenly struck in his eyes. And then we hear a voice –
BELLE: Who is this?!
As she comes into the room in the background, Ben turns around to face her. And we see Belle standing there, furrowing her brow as she looks at Ben – in confusion, rather than hostility –
And Ben says:
BEN: Annabelle… Annie.
And the music hits a heavily emotional note. Belle just stands there – suddenly struck as she recognizes him. She is in total disbelief.
And Ben steps closer, recognizing her now. Although she is 41 years older, Ben can see – it is her.
And we hear a soft variation of Ben’s theme (like 1:12 – 2:00). We can see in Ben’s eyes. He is hit with feelings of confusion, shock, but also some kind of happiness.
BEN: I can’t believe it’s you…
And Belle steps closer, smiling in disbelief to find her old childhood friend here.
BELLE: I never thought I’d see you again.
And Ben stands there, not sure what to say. And he just admits –
BEN: I stopped looking, years ago.
And then he says, something he’s always wanted to say in these scenarios he’d envisioned:
BEN: A part of me has been gone, ever since you left.
And he is still struck, conflicted in his eyes. And Belle just still looks confused herself – sensing her question, Ben says:
BEN: I’m here with Hugo Reyes to make a deal with Theodor.
And Annie is not sure what to think. She just slowly reaches and takes his hand.
BELLE: We’ve lost so many here. …Will you help us?
And there are a few more soft notes, as we hold on Ben’s gaze, a deep decision pulsing through his eyes.
And we cut to black:
We are taking a pause on Hurley, as he looks dark in his eyes. The musical scoring is something a shade different from how Giacchino usually composes for Lost – something like the melancholy strings of a guitar, like you might hear in a classic Western.
Appearing next to him is Jack, who gives him a comforting smile. He knows something stirs Hurley but maybe doesn’t entirely know why.
HURLEY: I know I ask you all the time – have you seen her?
Jack shakes his head, though still smiling. And Hurley gives a low nod. He just thought he’d ask this last time. The musical strings fret a variation of one of Hurley’s themes.
And in the next shot, we see Hurley slowly proceeding across dreary land. As he keeps walking, we see the industrial scenery around him – that similar to Islet D – the location of the Garden. And as he continues, we can see him walking away from a van parked in the background. Soon, we can see Diya in view of the camera, also walking. The musical strings fretting.
We see a quick shot back at the van. Kate is now seated in the driver’s position, as she watches carefully through the windshield to see what’s ahead.
Hurley and Diya take the last of their steps we see, the strings fretting to their heaviest tension before ceasing. Hurley and Diya exchange glances – both hoping their plan will work.
And we see up ahead of them, Theodor, in his dark clothing, in his crutches standing on a boardwalk protruding from a building. His eyes staring with an icy calculation. And next to him are the survivors he seems to have recruited – Sawyer, Claire, Miles, and Ben.
And Hurley finally calls out:
HURLEY: Theodor! I’m here. Let’s talk this out.
As the five stand up tensely on the boardwalk, Ben quietly whispers towards the other survivors:
BEN: I’m sorry.
Sawyer gives a double-take, and just whispers.
SAWYER: What for?
And we get another shot of Hurley standing on the ground alongside Diya. And suddenly – we hear electric humming all around, as the two look to see –
And then we notice red flashes in various areas in the distance. And we hear a panicking music suddenly escalating (only 1:13 to 1:30). In quick shots, we now see close-ups of lightposts flashing red all around, and guns cocking everywhere as Theodor’s mercenaries appear standing up high on the surrounding buildings. – And we see Hurley and Diya’s expressions as it dawns on them – they have been ambushed.
And with one final blaring note, Ben has suddenly whipped up a handgun and is aiming towards Sawyer, Claire, and Miles, who all look startled and horrified.
THEODOR: Down on your knees, now!
And the music transitions in this low, hauntingly suspenseful piece (0:29 – 0:50). We get a quick shot on Kate from the distant van as she squints her eyes, realizing what she is seeing happen. The horror dawning on her.
And in the next shot, we are back on the boardwalk, Theodor and Ben standing, the latter with a gun, and Sawyer, Claire, and Miles surrendered on their knees on the floor. Elsewhere across the buildings, we see Garrow as well as Foster and others, all with their guns aimed down.
And Theodor calls down:
THEODOR: Hugo, we’ll exchange your friends’ lives for you and Diya.
And then the music transitions into an anxious variation of the Others’ action theme (like 0:54 – 1:45 from the previous track) and transitioning into suspenseful beats as it goes.
We see Hurley and Diya, standing together tensely at the surrounding danger. And Hurley calls up:
HURLEY: Ben’s not gonna hurt any of them!
Theodor mutters to Ben:
THEODOR: Now’s your chance to prove it.
And then he shouts out more clearly for everyone to hear:
THEODOR: Linus, shoot one!
There’s an unnerving click of music to this. And Sawyer, Claire, and Miles each look panicked, horror-struck – are they about to die?
On the ground, Hurley stands, tears streaming down his red eyes now, though he is quiet and collected, not bawling, as he looks up at them.
And we hear the low, soft beats of a variation of Ben’s theme, (a version similar to when he was being banished: 3:45 – 4:00.) Ben calls down, holding his handgun aimed down in the general direction of Sawyer, Claire, and Miles:
BEN: Surrender yourself!
Ben’s “banishment” variation escalates more heavily (4:07 – 4:27). We can see his arm shaking with anxiety, his body tense. His eyes look struck with a devouring horror. His body then starts to sway in its anxiety. There are also heavy hints of Hurley’s tragic theme (0:20 – 0:43).
And he calls down, the inflection of his voice different, his voice breaking:
BEN: Don’t make me do this!!!
The music fades into a silent tension. We get final shots on the intense expressions of everyone – Ben as he holds his gun, the captives Sawyer, Claire, and Miles – and Diya standing on the ground.
And next to her, Hugo. The screen quietly, slowly zooms close in on his expression. His tears have stopped. His eyes look like they hold a gaze of acceptance.
And Hurley simply says:
And Ben’s eyes widen. Something heavy overcoming them. And he lets out a breath. He takes a few steps sideways, still tensely holding his gun.
— And then he suddenly swings his arm forward!
And with a blood-curdling thud –
Hurley is lying on the ground, his eyes shut, blood pouring from from the right of his abdomen.
L O S T