Lost – Season 7, Episode 8: “The Peacemakers”

PREVIOUSLY, ON LOST…

 

[From 7.01 Another, Hurley speaking to Miles and Richard]

 

HURLEY: I’ve got a plan.

 

[From the same episode, Kate’s eyes opening as she awakens soaked wet, with the mask and cylindrical tank lying next to her in the grayish jungle]

 

[From 7.04 Samsara]

 

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

 

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

 

[From 7.07 Checkmate, as they walk through the Tin Man station]

 

DIYA: We were trying to put souls in machines. I was the lead researcher.

 

WALT: Did it work?

 

DIYA: Not the way I intended.

 

[The sound of a boar squeal, and Bernard on the ground in the jungle with a bloody wound on his left leg.]

 

ROSE: Oh my God, Bernard!

 

BERNARD: It’s okay, I’m okay.

 

[Desmond, Tamar, and Penny helping the two of them home.]

 

[And then from the end of the episode, all of Theodor’s men ambushing Hurley and Diya, who are trapped in flashing red lightposts, as we see the stunned reactions of Kate who’s in a van, and Sawyer, Claire, and Miles who are on their knees in surrender up on the boardwalk.]

 

THEODOR: Linus, shoot one!

 

[Ben holding his gun over the captives, with Hurley and Diya glancing up at him from the ground down below, tense music reflective of Ben’s or Hurley’s themes beating.]

 

BEN: Don’t make me do this!!!

 

HURLEY: Checkmate.

 

[Ben with a heavy look in his eyes – and then swinging his arm. GUNFIRE.]

 

SAWYER: NOOOOOOOOOOOO!!!!!!!

 

[A final shot of Hurley laying on the ground, his eyes shut, a bullet wound bleeding out of his right abdomen.]

 

Episode 7.08: The Peacemakers

 

 

HURLEY: Here’s the plan.

 

We see that Hurley is seated in the center of a room. Around him, everyone else is gathered like a council of sorts, all in their own seats – chairs, sofas, and the like. The music beats lowly throughout the scene, rising up as the plans of action become increasingly clear. Hurley qualifies his previous statement:

 

HURLEY: Well, part of it – We’re gonna buy out the Hanso Foundation and end its corruption. So it’ll no longer be a threat. But first, I’ve gotta go to this place – this ‘Island Number Two’. So you all have 3 choices. – Tamar, tell them.

 

Tamar then speaks her piece to the audience:

 

TAMAR: The first choice is you can stay. I will have my people spread around the world watching over each of you. But I cannot guarantee your safety. We’re bodyguards, not an army.

 

Throughout this scene, the camera circles around the room, and we see who all is here: including Kate, Sawyer, Claire, Miles, a grayed Richard, Desmond, Penny, Sun’s Mother, and to our surprise – her father as well, Mr. Paik. And closer to Hurley in the center are Ben, Walt, and Tamar.

 

SAWYER: Who are you exactly?

 

HURLEY: Remember Ilana? She had more people off the island, Ben and I found them. They dedicated their lives to guarding the protector of the Island.

 

Richard then inputs an idea that seems uncomfortably immoral:

 

RICHARD: I hate to resort to asking – could they put hits on the Hanso Foundation?

 

Hurley shakes his head, dismissing this suggestion:

 

HURLEY: No violence.

 

Ben says with a dark reminiscence, as a man whose heart has changed over the years:

 

BEN: I agree, we don’t need to stir up another war, one was enough for me.

 

Hurley then looks to Walt:

 

HURLEY: So Walt, your turn.

 

And Walt begins, explaining to the crowd their second option:

 

WALT: Your second choice is, you can come to the Island. I think you should definitely send the kids there. The past ten years we’ve renovated the place, it’s a safe haven. It’s one of only two places in the world the Hanso people can’t get to.

 

As Walt explains, we particularly register the reactions from Kate, Sawyer, and Claire. They don’t seem to keen on the idea of going back to the Island. Though expressions from the Humes and Sun’s parents seem to consider this option.

 

SAWYER: What’s the third option?

 

Hurley takes a breath, and at last explains the final option:

 

HURLEY: Third option is, you can join me on my quest to Island 2. It belonged to the Hanso people, but now we’re the only ones who can get there. But we don’t know much about the territory, so it’s risky.

 

Tamar interjects:

 

TAMAR: I still say you should hire mercenaries to join you.

 

Hurley rejects this, with a dark reminiscence of his own:

 

HURLEY: No mercenaries.

 

Kate then asks:

 

KATE: What’s so special about this other island?

 

Hurley simply says:

 

HURLEY: It has a lot of power there.

 

We register the reactions of Kate, Sawyer, and Claire again. And Hurley concludes, a determination on his face:

 

HURLEY: This is a mission of peace… No one has to die.

 

And the music raises with a suspenseful blare, as we wooooooooosh to:

 

 

Hurley’s eyes closed, the music spiraling up with horror as the camera pans out, and we see him laying unconscious on the ground, a wound bleeding terribly from the right of his abdomen. And we see ourselves back on the scene from the end of the last episode: Diya standing near Hurley, and Sawyer, Claire, and Miles surrendered on their knees up on the boardwalk. Theodor standing in his crutches, Ben standing near by with the gun he just fired. On surrounding buildings, Theodor’s troops are standing armed and aiming at the crowd.

 

And we take quick shots on each member of the crowd as they process what they have just seen. Sawyer, Claire, and Miles are deeply horrified. Diya looks down at Hurley, both a shock and also a determination in her eyes. Even Theodor looks shocked – he was not expecting this move Ben made.

 

And we also hold on Ben’s expression, as well. He still holds his handgun stiffly. There is almost a paralysis in his face, his eyes seem frozen over with an ice for the choice he has just made.

 

– And then with a VROOOOOOM and a SCREEEEEEECH, the SAMSARA van circles onto the scene, horizontally from the right (from Hurley/Diya’s position), Kate in the driver’s seat.

 

The passenger window already lowered, Kate lunges to the passenger seat and aims her gun outside, firing up desperately at Ben’s direction as he stands behind the railing of the boardwalk above – with a rapid fire of BANG – BANG – BANG – BANG! And we hear high musical notes blaring dangerously!

 

Ben quickly flinches back, and losing his aim, he realizes his position is compromised – as Sawyer quickly looks to make an attack. But Ben quickly opens a door to go into the building for cover. Theodor then drops himself onto the floor of the boardwalk.

 

And WAR breaks out, while a variation of the Others’ action theme (0:32 and onward) explodes onto the scene. Theodor’s troops are firing a rainstorm of bullets towards the van, as Kate ducks down for cover, the windshield shattering in the firestorm!

 

Diya dives onto the already critically-injured Hurley to protect him from further hits – and with an aaaargh! and an aaaagh! we can see her lurch from taking a couple of hits, though as a monster she cannot be killed.

 

Sawyer, Miles, and Claire are on the floor of the boardwalk by now to avoid gunfire, and Sawyer scrambles crawling across the floor until he can grab Theodor who’s also on the floor! And in a moment, we see him standing up, with him, his arm tight around Theodor’s neck!

 

SAWYER: ENOUGH!!

 

The storm of gunfire seems to fade out for a moment, as Sawyer holds his arm tightly ready to break Theodor’s neck if need be!

 

And Kate takes this opportunity to resume attack! Lifting back up from the seats, she continues to fire through the shattered windshield – BANG BANG BANG BANG.

 

In the distance, we see the lead mercenary, the burly Garrow, pointing his men to retreat, heading to enter back through doors and drop down from the buildings they are standing on. Theodor’s bodyguard Foster also drops to the ground.

 

In the next shot, we see Kate’s gun is out of ammo, and she quickly reaches for spare bullets to reload it with!

 

In the next shot, Claire is busting through the door inside the building, and Miles and Sawyer (holding Theodor) following her in. We see quick shots of the three (four) running through rooms and hurrying down stairs. We take quick glances for Ben, but he is nowhere to be seen, evidently having already left out the backdoor.

 

MILES: Go on, I’ll catch up!

 

They have no time to argue and burst out the front door, as Miles heads for the back door. And Sawyer is caught off guard as suddenly – A BARRAGE OF BULLETS!

 

He’s forced to release Theodor, who stumbles onto the ground, still injured in his leg, bullets hitting through the wooden legs holding up the boardwalk above.

 

At the van, we see its tires are popped by bullets, Kate is back to firing through the windshield! Diya is covering Hurley with her body, a couple of bullets on the ground that bounced off her back.

 

Claire and Sawyer take refuge at the back of the van, opening it up: and fortunately, inside there already have additional arms supplies awaiting them. She takes out a rifle, and also tosses a pistol to Sawyer who catches it. The music beats heavily and tensely.

 

Kate continues to fire and duck from the front of the van, while Claire and Sawyer also repeatedly serve around the back to fire shots before swerving back for cover.

 

And then a larger, armored vehicle suddenly swerves up onto the scene! Theodor’s men stop firing, and the three Oceanic survivors begin firing upon it!

 

That is, until they hear a voice from the driver’s seat –

 

MILES: IT’S MILES!

 

He’s apparently stolen one of their vehicles. Diya starts to carry Hurley, able to do so with her smoke monster strength!

 

Ahead, we see that the back of the armored vehicle is already open for them. Sawyer and Claire are rushing with his pistol to help give cover to Diya and the wounded Hurley!

 

Kate bursts out of her own van now, a pistol in one hand, and another object in the other – a block of wiring with a timer – the explosive we saw her holding in the previous episode!

 

Diya loads Hurley into the back of the armored vehicle, as Claire and Sawyer exchange shots with Theodor’s men ahead!

 

As Kate comes up to them, they begin to pull themselves into the back of the truck as well – each one of them, Claire, Sawyer, and Kate, until they are finally all on board! All except for Diya, who cannot come.

 

We see the armored vehicle speeding away through the flashing red lightposts ahead, Diya standing sadly behind in the distance!

 

Theodor’s men come up to the edge of the lightposts, all armed. We see Theodor crawling along outside the perimeter of the lightposts as Foster and a couple of others rush to assist him.

 

In the back of the armored vehicle, Kate, Sawyer, and Claire look desperately worried for Hurley as blood gushes from his wound, Sawyer trying to obstruct it with his hand, not sure what to do! The music still beating anxiously.

 

KATE: My God…

 

Claire then notices the explosive Kate has.

 

CLAIRE: Why’ve you got that?

 

KATE: ‘Cause it’s time to end this.

 

And then she quickly adds –

 

KATE: We’re gonna blow the island.

 

And with a final dun of the music, we cut to black.

 

 

L O S T OPENING LOGO – it’s reversed

 

 

[Commercial Break]

 

 

We begin in a hallway. Sun’s Mother is standing with her father, Mr. Paik, while Ji Yeon awaits quietly near by. Mr. Paik looks more grayed and wrinkled than we last saw him many years ago.

 

[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 Byron Chung, Susan Duerden, Mickey Graue, Kiersten Havelock, Lillian Hurst, June Kyoto Lu, Cheech Marin, 4 undetermined guest actors, 2 undetermined guest actresses. Special Guest Star Sam Anderson. Special Guest Star L. Scott Caldwell. Special Guest Star Nestor Carbonell. Special Guest Star Jeff Fahey. Special Guest Star Kimberley Joseph. Special Guest Star Sonya Walger.The rest of the credits also listed.]

 

Sun’s Mother explains with urgent concern:

 

SUN’S MOTHER: 우리가 거기가는 것이 중요하다고 생각합니다./uliga geogiganeun geos-i jung-yohadago saeng-gaghabnida. [I think it’s important that we go there.]

 

Mr. Paik looks reluctant in his face, as she continues:

 

SUN’S MOTHER: 우리는 그녀를 데리고 보호 할 수 있습니다./ulineun geunyeoleul deligo boho hal su issseubnida. [We can take her there and watch over her.]

 

And he replies, in a tone of stern apprehension:

 

MR. PAIK: 우리 딸이 죽은 섬./uli ttal-i jug-eun seom. [The island where our daughter died…]

 

She replies earnestly:

 

SUN’S MOTHER: 나는 그들을 신뢰한다. 그녀는 그들을 신뢰했습니다. 유일하게 안전한 장소입니다./naneun geudeul-eul sinloehanda. geunyeoneun geudeul-eul sinloehaessseubnida. yuilhage anjeonhan jangsoibnida. [I trust them. She trusted them. It’s the only safe place.]

 

He takes this in thought. And he doesn’t appear to combat this, but rather, seems sincerely open to it. Perhaps, with years of raising his granddaughter after having lost his daughter, he’s grown softer. And there is a soft note of music to this.

 

He slightly nods, and says:

 

MR. PAIK: 나는 여기 머무르고 내 회사에서 재단을 보게 될 것이다. 나는 결과가 무엇이든간에 직면하게 될 것이다./naneun yeogi meomuleugo nae hoesa-eseo jaedan-eul boge doel geos-ida. naneun gyeolgwaga mueos-ideungan-e jigmyeonhage doel geos-ida. [I will stay here and watch the Foundation from my company. I will face whatever consequences come.]

 

He then looks to his granddaughter ahead, as he continues:

 

MR. PAIK: 그녀를주의 깊게 관찰하십시오. 그녀는 우리 딸 선화의 남은 전부입니다./geunyeoleuljuui gipge gwanchalhasibsio. geunyeoneun uli ttal seonhwaui nam-eun jeonbu-ibnida. [Keep a close eye on her. She is all we have left of Sun.]

 

Sun’s Mother nods, smiling, glad for this spark of warmth against the cold man he was years ago.

 

SUN’S MOTHER: 나는 그녀의 어머니와 아버지가 그녀를 위해 여기에있을 수 있었으면 좋겠다./naneun geunyeoui eomeoniwa abeojiga geunyeoleul wihae yeogieiss-eul su iss-eoss-eumyeon johgessda. [I wish her mother and father could be here for her.]

 

Mr. Paik raises his eyebrows more sternly. And he says in a severe tone we are more familiar with:

 

MR. PAIK: 농담하는거야? 내가 딸에게 일어날 일을 알았 더라면 나는 그 남자를 그녀 근처에 두지 않았을 것이다./nongdamhaneungeoya? naega ttal-ege il-eonal il-eul al-ass deolamyeon naneun geu namjaleul geunyeo geuncheoe duji anh-ass-eul geos-ida. [Are you kidding me? Had I known what would happen to Sun, I would have never let that man near her.]

 

He turns to leave.

 

In the next shot, we see Sawyer approaching Ji-Yeon.

 

SAWYER: So did they make a decision?

 

She nods.

 

JI-YEON: Yes, my grandmother is taking me to the Island.

 

Sawyer nods, agreeing.

 

SAWYER: I think that’ll be good.

 

We then see something troubling him in his eyes. And he continues, explaining to her, though not giving too much of the details away:

 

SAWYER: I wish I coulda saved your mom and dad.

 

We hear a few notes of Sun and Jin’s theme (0:02 – 0:09). She doesn’t seem so bothered however, perhaps as she never knew the full details of what happened.

 

JI-YEON: It’s okay. Just make sure your daughter is safe.

 

We have one last shot on Sawyer’s expression, one conveying conflict over his desires and motives ahead, as we wooooooooosh off:

 

 

We are back in the armored truck, Sawyer still trying to keep Hurley’s wound closed with his bare fingers, blood gushing over them. Kate still holding her explosive near by, and Claire sitting armed with a rifle next to him. The music is a little urgent again, taking us back to the action of Island 2.

 

SAWYER: You sure blowin’ this all to kingdom come is a good idea?

 

KATE: Why else are we here?

 

And Sawyer confesses:

 

SAWYER: To be honest, I was tempted to take over security. Get in a position of power, leverage over the Foundation.

 

Kate shakes her head.

 

KATE: It’s not worth it. You know the sayin’ about absolute power…

 

CLAIRE: So you’re saying nothing about this island enticed you?

 

Kate takes a moment, and there is a soft note through the more urgent music. But she doesn’t reveal anything just yet.

 

And then Miles calls from ahead at the driver’s seat:

 

MILES: I’m just here to find my dad. And he’s dead now. So I’m with you on this.

 

And as we hold on Miles as he drives, we wooooooooosh again:

 

 

We are now with Miles and Richard, back somewhere in Hurley’s building.

 

MILES: So you gonna go back to the Island?

 

Richard shakes his head, with an air of exhaustion reminiscing through him.

 

RICHARD: No, I spent more than a hundred years there. I’ve put it behind me.

 

And he unconsciously reaches up and feels a cross pendant from under his shirt, as a bit of his theme music (0:17 – 0:25 and 0:41 – 0:56) plays:

 

RICHARD: So I’m gonna take my chances. I’ve made a life here. If they come, then they come.

 

Miles nods, respecting his position.

 

MILES: Well good luck.

 

Richard nods, and then asks further:

 

RICHARD: When you read the thoughts of those men who attacked me – you get any kind of indication what they were after?

 

Miles shakes his head a little, not too sure.

 

MILES: All I got was, they called you Asset G. [Shrugging] Maybe they thought you knew something about the two islands.

 

Richard shakes his head, signifying that his knowledge has exhausted itself. And then he asks Miles one last question:

 

RICHARD: So why are you going to that new island? Looking to make a profit?

 

Miles shakes his head.

 

MILES: Life’s not all about diamonds.

 

And we hold on the two friends one last time, before we wooooooooosh off again:

 

 

We’re now on Diya as she stands solitary. Ahead are the flashes of red encircling in the distance. And on the outside, Theodor (in crutches) stands with his men, including Foster, Garrow, the other mercenaries, and Ben.

 

Diya and Garrow glare fiercely at each other from across the distance. And the latter begins to reach into his pocket, pulling out a handgun. And he aims it at Diya —

 

BANG! She groans in pain as she recoils a little.

 

Then, still holding his aim, Garrow fires again –

 

BANG! And another BANG!BANG! BANG! Diya recoiling and yelling with each shot. Bullets hitting the ground.

 

As Garrow continues to cruelly antagonize her, we see Theodor’s face grow into a frustrated rebuke, like that of a parent or owner to their child or pet. And he barks:

 

THEODOR: Garrow, ENOUGH!

 

Garrow stops firing on her. But he holds his gun threateningly still.

 

THEODOR: We need her to cooperate with us so that we can get Tin Man to work with us.

 

Ben, who still looks frozen in some shock from all the recent events, turns to Theodor in realization of what he just said. And he remarks, to invite more information:

 

BEN: Everyone seems to be after that station. That’s where Hugo and I were going when we came here.

 

This catches Theodor with some surprise:

 

THEODOR: How does he know about Tin Man?

 

Ben reveals:

 

BEN: Mr. Hanso told us about the station – how it took control of this island 16 years ago.

 

Theodor takes all of this in, as Ben continues:

 

BEN: He gave us the information on how to find the station, not to mention how to find this island.

 

Theodor is puzzled –

 

THEODOR: Why did he give it to you? We’ve been looking to open passage back here for years.

 

BEN: He only trusted Hugo – maybe because of his ideology, or perhaps his connection back to a previous protector of the Island.

 

We hear a few shades of Hurley’s sideways theme as well as Jacob’s theme. There is a look of icy intrigue in Theodor’s eyes for just a moment.

 

THEODOR: Previous protector?

 

Ben nods. But Theodor doesn’t ask on that further. Instead, he asks:

 

THEODOR: Can you tell me how you got here?

 

Ben nods:

 

BEN: I can give you the coordinates – but if I were you, I wouldn’t just hand that out to Mr. Galen. They’ve threatened children – and mothers.

 

Theodor nods, as Ben continues:

 

BEN: Lest I remind you, I joined hoping this island would have the power to help the mothers and their babies on my Island.

 

And then he coyly adds:

 

BEN: Though that may be futile now, as Hugo was going to have us destroy this island’s power through Tin Man.

 

Theodor says in an assuring tone:

 

THEODOR: Fortunately, Mr. Linus, they’ll never get Tin Man to do that.

 

But then Ben corrects:

 

BEN: No, I believe they were going to destroy Tin Man itself. They found a bomb to use.

 

And this strikes Theodor with a horror, reflected in a couple of notes of music:

 

THEODOR: What?!

 

And he looks to his troops:

 

THEODOR: All of you, get moving – NOW!

 

Garrow starts to lead the other mercenaries away, Foster breaking from the group slightly in the background, the music growing more urgent. Theodor still standing in his crutches with Ben for a moment, as the latter looks confused to the former’s reaction.

 

THEODOR: That station is our only hope to get access back to this island’s power!

 

And he starts to hurriedly hobble down with his troops, Ben staying behind for a moment in calculating thought. The music starts to turn into a suspenseful drum-tapping like one would expect of an army marching to its destination.

 

And we have one more shot on Diya, as she bears an expression of revulsion. And fade into the next shot:

 

The music continues to beat suspensefully with a sense of anticipation, with the sound of drum tapping (perhaps something like an homage to this moment from Goldfinger: 4:39 – 4:55) as the scene fades onto the back of the armored truck, driving our heroes through the dreary terrain of an islet as it stops near a group of buildings.

 

In the next shot, Kate, Sawyer, and Claire are quickly trying to move the unconscious Hugo out of the back of the truck.

 

KATE: I think I found a hospital this way!

 

And in the next shot – we see Jack! He looks horrorstruck as he sees Hurley being lifted away, blood spilling from him. We can hear some of Jack’s “anxious” theme as we see it racing through his mind – that need to fix this, to save Hurley – and at the same time, that sense of defeat, that sense that he cannot –

 

And fate presents an opportunity: we see Walt hurrying up onto the scene, the music still ever dire, reflecting variations of Hurley’s themes. Walt is also shocked and horrorstruck at what he sees.

 

WALT: Is he okay?! Is he gonna be okay?!

 

KATE: Go in the hospital and grab a gurney!

 

Walt turns, hurrying to go get it.

 

And we see a shot on Jack’s face – as he realizes something, a plan forming in his mind.

 

In the next shot, Walt is hurrying through an abandoned hallway, rushing to grab a gurney, the music still beating tensely. And as he grabs it, he sees ahead –

 

JACK: Walt!

 

Jack looks urgent, his anxious theme still beating lowly, and Walt listens intently:

 

JACK: I need you to save Hugo.

 

And we close in on Walt’s expression for a moment as he takes this in, before we cut back —

 

Walt is rushing back outside rolling the bed, and the others are hurriedly lifting Hurley onto it.

 

WALT: I know what to do, I can save him!

 

With that abrupt and self-doubting assertion, Walt begins to roll Hurley, heading back. Sawyer and Claire start to follow –

 

KATE: It’s more dangerous if Theodor comes!

 

Sawyer and Claire start to slow to a stop. We can also see Miles’ worried expression in the background as he stands just outside the driver’s door.

 

KATE: We divert his men back to the station – two birds, one stone.

 

Though reluctant to leave Walt and Hurley alone, they start to see her logic. The music beats tensely still. And we cut away —

 

— With the sound of a low bong, we now see the first Island. Green, lively, daylight. We only get a quick glimpse at it.

 

And then a quick shot on the houses of the Barracks –

 

And then we are inside the sick bay. Bernard lays on the bed, but he does not look well at all, his breathing is strained and he’s sweating. One of Hurley’s people, a doctor, is examining the injury on his left leg. It’s not bleeding anymore, but –

 

In a somber tone, the doctor says:

 

DOCTOR: The infection spread too fast. I’m not sure there’s much left we can do.

 

ROSE: What do you mean?!

 

Rose stands behind him, her voice cracking with worry. And Bernard huffs out a sigh, as he understands. And he says gruffly:

 

BERNARD: Rose, he’s saying I’m probably gonna die.

 

The music turns very poignant, in a way reflecting of Rose and Bernard’s theme. And we pause to take this moment in with the two of them. Desmond and Penny are also there, and they are also shocked by this turn of events. Can this really be it, just out of nowhere? Surely, there is something else –

 

ROSE: Doctor, what about that – that temple? Doesn’t it heal?

 

He shakes his head, regretfully:

 

DOCTOR: I’m afraid we’ve never been able to purify it again.

 

Penny interjects:

 

PENNY: Anything we can do, we will.

 

Desmond nods. And the doctor can only say:

 

DOCTOR: Pray for a miracle.

 

We see the somber severity on his face – he feels like he hasn’t seen a miracle on this Island in a while, but there is always hope.

 

We see this information all register through the minds of a heartstruck Rose, then Desmond, then Penny, and then of course weary Bernard. The music beats softly still, before we cut to black.

 

 

[Commercial Break]

 

 

We hear Walt’s theme softly playing, as Walt is standing outside what looks like a coffee shop. With him is Ben, and also – a young woman and man with blonde hair – and then we recognize them as two Tail section kids, Emma and Zack, though they are both adults now in their 20’s.

 

WALT: Well, come visit the Island any time. I know Cindy’s missed you.

 

Zack remarks:

 

ZACK: Well, I think our time on the Island is over. Things have been great here at home.

 

Ben says warmly:

 

BEN: Gosh, it’s been the better part of a decade now, hasn’t it? I still think of you two as kids.

 

Emma says warmly:

 

EMMA: It’s been nice talking to you guys again. You should come over for Fourth of July, Mom is throwing a shindig.

 

Walt smiles:

 

WALT: Maybe. Though we’ve got somewhere to be this week.

 

Emma and Zack nod to Walt and Ben –

 

In the next shot, Walt and Ben are alone together, walking down the street. Ben, smiling warmly, says:

 

BEN: Y’know, I always thought you’d be great looking after the kids of the Island, you’d have commonality with them.

 

Walt nods, thinking on what he said. And Ben adds, hopefully:

 

BEN: Maybe something we can do once people can have children on the Island again.

 

Walt nods thoughtfully.

 

BEN: I think it’ll be dangerous going to this other island.

 

Ben starts to slow to a stop, and so does Walt:

 

BEN: You sure you won’t stay on the Island?

 

Walt shakes his head, though – his mind is already made up.

 

WALT: I think I need to go to this other island to tap into my power.

 

Ben nods, understanding his motives, and we have one more shot on Walt’s expression as we wooooooooosh away:

 

 

Walt bursts the gurney through the doors into an abandoned hospital room, clunking through abandoned equipment in the room, Hurley laying on top bleeding to death, the music urgent.

 

Jack storms in behind him, and we hear Jack’s “anxious” theme still playing. He gives quick orders:

 

JACK: Alright, hook him up to the monitor – hope this equipment still works. We’ll need to check the refrigeration for an IV bag – pray that it’s been preserved. – He’s also gonna need a nasal tube. – And you’re gonna need a face mask.

 

Walt puts a face mask on, and proceeds to clip a sensor onto Hurley’s finger. Jack stares down at Hurley anxiously, his eyes still shut closed. Jack examines Hurley’s vitals as the monitor beeps urgently. And Jack says calmly:

 

JACK: I already got a pretty good look around his body. I think we can do this.

 

Walt nods, as he continues into action for what the doctor ordered. And we cut away –

 

In the next shot, we are back in the truck again with Claire, Kate, and Sawyer, as well as Miles driving in the front. The music beating tensely again.

 

We hold on Claire’s expression as she holds her rifle tightly, and we wooooooooosh to:

 

 

Claire stands from afar in the hallway of Hurley’s building, watching as Kate talks to Aaron.

 

AARON: So you’re going to the other island?

 

Kate nods:

 

KATE: Yeah. Whatever it takes to stop all of this.

 

Aaron looks down, a darkness or depression in his eyes.

 

KATE: You alright? I know you haven’t felt well lately. And you got into that fight with those boys-

 

AARON: -I’m fine, Aunt Kate.

 

Kate nods, knowing there is something more going on, but deciding to leave him to his space.

 

KATE: Okay. And your Mom and Grandma’s gonna be with you, so everything’s gonna be fine-

 

CLAIRE: -Actually…

 

Claire speaks up in the background:

 

CLAIRE: I’m going to the other island, too.

 

Kate turns, stunned. And we can see she doesn’t approve of this.

 

KATE: Claire, you need to be with him.

 

And there is a pause on Claire – she knows what Kate is going to say, but she has made up her mind. And Kate continues, insistent:

 

KATE: Aaron needs his mother now.

 

There is a soft tone of music. And then Claire says, firmly:

 

CLAIRE: And I am being his mother. I’m doing this to protect him.

 

We see a shot on Aaron, as he watches the rare argument between the two. And Kate says, frankly:

 

KATE: Claire, I don’t know that you can handle it.

 

And this hits Claire, hard. And she thinks it may be true. But still – she has made up her mind. The music beats softly still.

 

And we have one last shot on Aaron, then Kate, and then at last Claire. Before we return, woooooooooshing back to:

 

 

Claire is stepping out of the armored truck, now parked, and Kate and Sawyer are already out of it. Miles is also stepping out of the driver’s seat. Ahead, we see the Tin Man station. Everyone is armed.

 

Claire also eyes the explosive in Kate’s hands.

 

SAWYER: Let’s get into defense position while you get the bomb ready.

 

So Sawyer and Miles hurry on. And Claire then remarks, finally revealing:

 

CLAIRE: Kate…

 

Kate turns to face her.

 

CLAIRE: I came here because I thought this island’s power might help Aaron and me. …And for my part, it has.

 

Kate stares at Claire, the music soft still, though there are also occasional anxious beats – as the group is still wary of the oncoming assault.

 

KATE: Help you how?

 

And Claire admits further:

 

CLAIRE: I didn’t tell you – but I think Aaron has a darkness, like I did.

 

Kate’s brow furrows in confusion, trying to process what Claire just said.

 

CLAIRE: He heard voices telling him to hurt people – just like I did.

 

We see Kate is struck by this and not sure what to think.

 

CLAIRE: So I started going with him to school to keep an eye on him, while I looked for a cure.

 

And then Kate says:

 

KATE: Why did you keep this from me?

 

And then Claire says:

 

CLAIRE: I didn’t want to worry you. And I know you don’t entirely go for this spiritual stuff.

 

Kate shakes her head. But then she admits, with a soft tone of music:

 

KATE: Actually, I came to this island, thinking maybe there was a way to talk to those we’ve lost.

 

This takes Claire by surprise.

 

KATE: But I turned that down.

 

Claire then questions:

 

CLAIRE: Is destroying the island’s power really the best move?

 

She then steps closer to Kate, more assuringly:

 

CLAIRE: We don’t have to give into this cycle of violence. I get that now.

 

And we see almost a shine in Claire’s eyes. And we also see that Kate takes in what Claire has said – realizing that perhaps something has really changed in Claire.

 

But Kate ultimately says nothing further, and simply turns, continuing onward, the explosive still in hand. And we cut away –

 

In the next shot, we are in the computer room of the Tin Man. Locke is here, in his striped white shirt and wheelchair. He is facing the computer screen, which has text written across it.

 

And Locke says aloud:

 

LOCKE: I’ve been wondering – that hatch, called the Rabbit Hole. What’s down there?

 

And there is a brief moment of pause – before a response appears on the screen:

 

INITIATOR: It is a passage down to this island’s energy.

 

Locke thinks on this answer.

 

LOCKE: Well, why’s it sealed off?

 

Another pause, and then –

 

INITIATOR: Its power is unpredictable.

 

There is a mysterious note of music to this. We hold on Locke’s expression as he holds his hand to his chin, pondering thoughtfully, a mystique of wonder in his eyes. And we cut away –

 

We are back in the hospital room, with Jack’s “anxious” theme (0:37 – onward) playing throughout the scene. Walt is standing with a face mask on, Jack next to him. And Hurley is hooked into everything he needs now and one can only hope those will still be sufficiently working. His vital monitor is beeping urgently still.

 

JACK: Grab those pliers, we need to get the bullet out.

 

Walt reaches for a pair of pliers, and then he steps to Hurley, standing still, almost frozen with anxiety.

 

Now Jack says, in an urgent but more comforting tone:

 

JACK: Now, Walt – I can’t do this. So you’re gonna have to.

 

And Walt already seems to realize this, but we can still see the fear bolting through his eyes.

 

JACK: But don’t worry. I’m gonna take you through this.

 

Jack starts to place his hands around Walt’s wrists. Although he can’t actually physically interact with Walt, it seems to nonetheless have a mental effect.

 

JACK: Just try to follow my guidance.

 

Walt nods, sighing through his mask.

 

WALT: Okay.

 

And Jack, with a look of resolve in his eyes, examines Hurley’s blood-gushing wound for a second:

 

JACK: Once the bullet is out, we’re gonna need to see if the appendix has ruptured. We have to repair any damage done to stop the bleeding.

 

Walt takes this in.

 

JACK: You ready, Walt?

 

Walt nods, he’s as ready as he’ll ever be.

 

WALT: Yeah.

 

Jack nods, and then, guiding Walt’s hands, Walt holding the pliers, proceeds to move them to Hurley’s wound, the music escalating more dramatically. And we cut away –

 

In the next shot, we are on Diya as she stands alone. The lightposts are still flashing red in the distance around her. She looks angry and fierce, a caged animal wanting to break free, but thinking she has no chance of getting out of this confinement. The music beats tensely.

 

And then suddenly, we hear a slight electrical buzz around her – and all of the red lights flicker for a last time before vanishing.

 

Diya looks around, very surprised. Is she free?

 

And then emerging into view, we see – Theodor’s head of security, Foster. And Diya says in confusion:

 

DIYA: Foster?

 

He comes to a stop, facing her. He has a certain worry yet courage in his eyes. And he says:

 

FOSTER: Go on, I turned them off.

 

Diya remains puzzled by this.

 

DIYA: Why?!

 

And Foster says:

 

FOSTER: Because this war needs to come to an end.

 

And there is a soft yet suspenseful note to this. And we register Diya’s reaction for a moment.

 

And then in the next shot, we see Foster facing ahead in her direction – yet she has now vanished from the spot.

 

He then turns, starting to leave. And we cut away again —

 

— With the sound of a low bong, we now see the first Island once more. It is about sundown in this part of the world. We see a lovely view of the golden sun shining, lowering behind the mystic, lively green island.

 

We see Cindy walking hurriedly through the golden-lit lawns of the barracks, and we hear a somewhat fast-paced yet emotional variation of the main Lost theme (from about 0:19 and onward). She is met by none other than Hurley’s parents, who we’ve just realized for the first time are also on the Island. Carmen Reyes and David Reyes, both in some cool tropical clothing, more aged and gray-haired than we last saw them in previous seasons.

 

DAVID: The man who was injured – how is he?

 

Cindy says frankly:

 

CINDY: He hasn’t improved.

 

Hurley’s mother says caringly:

 

CARMEN: They seem like lovely people when we met them. Let them know they are in our prayers.

 

Cindy gives a grateful nod, and proceeds on toward the sick bay.

 

In the next shot, we see Cindy near the bed with Bernard who is laying on it, looking more sickly and sweating more severely than we last saw. Rose is also here, seated close to him.

 

Cindy looks deeply saddened for them, and she says:

 

CINDY: Everyone on the Island’s been praying. So have I.

 

The music beats softly. And we see Bernard smile. And then Rose smiling as well.

 

CINDY: Things haven’t been the same since the kids went home. And they wouldn’t be the same with you gone, either.

 

And Bernard says:

 

BERNARD: Thanks, Cindy.

 

Cindy gets up to leave, leaving them to their privacy. Though Desmond and Penny remain with Rose and Bernard. The music still beats softly.

 

The music begins to transition more clearly into Rose and Bernard’s Theme. And Rose begins to say tearfully, with a smile:

 

ROSE: You know, this wouldn’t have happened if you always had to do something.

 

And we’re not sure if she is referring to the boar or rather actually to how they got to the Island in the first place. Regardless, Bernard, still smiling, replies back:

 

BERNARD: I did it for you.

 

There is a moment pause. And then Penny says:

 

PENNY: I’m just shocked. I heard people got better here on this island.

 

Rose turns and smiles, and she says:

 

ROSE: They do. But even death catches up eventually.

 

But Rose remains peaceful though in tears. And she adds:

 

ROSE: But it’s okay – that’s part of the journey.

 

Bernard adds:

 

BERNARD: Everyone’s gotta die some time.

 

And there is another pause, before Bernard adds:

 

BERNARD: So if this is it – at least we had a long time together.

 

And there is a quick shot on Desmond as what Bernard just said strikes him. And Rose turns back to Bernard, smiling. And Bernard adds:

 

BERNARD: Plus, it’d be death by nature. Better than getting shot.

 

As Desmond stands next to Penny, he quietly does a sign of the cross while in thought, perhaps in a prayer. And the music beats a couple of more soft notes, before the scene cuts to black.

 

 

[Commercial Break]

 

 

Our sight is now on a marina full of boats. The camera pans down, showing the large crowd of characters. Desmond, Penny, and Charlie have already boarded Our Mutual Friend. Next to it, the Elizabeth has some occupants of its own on it, including Aaron, Carole Littleton, Ji-Yeon, her grandmother, and Tamar.

 

Desmond watches a crowd below on the docks, consisting of Kate and Claire as they watch up at Aaron and Ji-Yeon with their grandmothers on the sailboat. And also on the docks are Hurley, Ben, and both of Hurley’s parents.

 

Hurley’s mother says, skeptically:

 

CARMEN: I don’t like all this business of sailing to some island.

 

HURLEY: Come on, Mom, it’ll be like a Hawaii vacation.

 

CARMEN: Sure, with volcanic fire raining down on us!

 

Hurley’s father pipes in:

 

DAVID: Why aren’t you going with us on this trip?

 

HURLEY: Well, Dad, I’ve got my own trip to the Bahamas

 

His father shrugs.

 

DAVID: And all this stuff you told us about some corporation –

 

HURLEY: Yeah, they’ll target you both to get to me! So you gotta go.

 

And David says with a concerned sternness:

 

DAVID: Hugo, you’re not James Bond. …Are you?

 

Carmen then, to our surprise, embraces Ben tightly.

 

CARMEN: You please take good care of our Hugo for us.

 

Ben hugs her awkwardly back, but smiles warmly.

 

BEN: Of course, I’ll defend him with my life.

 

Carmen starts to pull away.

 

CARMEN: You better! I’m trusting him with you.

 

Up on Our Mutual Friend, Penny comments to Desmond:

 

PENNY: So is this the right move to protect Charlie from the Foundation? Going to that island you hated so much?

 

There is a pause as Desmond thinks, his eyes showing a mysticism. And then nodding, he says, oddly and cryptically:

 

DESMOND: It’s a powerful light… in the darkness.

 

And we get one more shot on Penny, a slight concern and confusion shooting through her eyes. And then one more shot back on Desmond, his mind still almost in a sort of trance of thought and memory. And we wooooooooosh:

 

 

Back in the sick bay with Rose and Bernard, it appears Penny has left, as only Desmond is with the couple now.

 

And he decides to ask them something now, in private confidence:

 

DESMOND: I want to know your thoughts on something…

 

And Rose and Bernard turn to listen to him. And revealing what troubles him, he asks:

 

DESMOND: If this life is doomed to end in death for each of us… Then why bother? …Happiness is so… fleeting, isn’t it?

 

And we hear a few notes of Desmond’s sideways theme (about 0:02 to 0:06). And Rose says:

 

ROSE: Desmond, every choice we make in this life, every impact we make on a person, shapes what’s coming in the next life.

 

Desmond takes in this spiritual answer Rose has given. And Bernard adds, with a beat of music:

 

BERNARD: So every moment counts.

 

There is a soft tone, as Desmond takes this in, thinking on what he just said.

 

And after a moment, we cut away —

 

— With the sound of a low bong, we now see the second Island, the dreary scenery of the four islets pointed towards the central gulf. It’s daylight here.

 

The music beating tensely, we’re rejoined with Kate, Sawyer, Claire, and Miles as we see each of them is positioned by some of the trees in the patch of forestry around Tin Man.

 

Kate, explosive in hand, is with Sawyer:

 

KATE: Alright, I’m going in now.

 

SAWYER: Good luck.

 

KATE: Aren’t you coming?

 

In the midst of the tension, there is a soft yet mystical note of music as Sawyer hesitates to say – and then:

 

SAWYER: I can’t help you destroy it.

 

Kate asks, confused and frustrated:

 

KATE: Why not?

 

And Sawyer hesitates again, before saying:

 

SAWYER: ‘Cause I told it I wouldn’t.

 

There is another musical note beating mystically to this, as we see Kate’s expression, hit by the strangeness of what he just said.

 

And then – we hear the vroooooming of vehicles in the distance.

 

Sawyer, looking anxiously on, says:

 

SAWYER: Dr. Evil’s already here…

 

He then glances back to Kate:

 

SAWYER: Go! Take the back entrance!

 

Kate gives a last slight nod to Sawyer, before hurrying on, as he holds his pistol in position.

 

We then see a couple of armored vehicles pull up, with quick shots of the mercenaries emerging from them.

 

The music beats anxiously as we see Sawyer, Claire, and Miles each, with weapon in hand, observing from behind their positions in the trees.

 

We see Garrow leading his men closer to the station. Then a quick shot on Theodor, seated in the back of one of the trucks alongside Ben.

 

The music still beating anxiously, we see Sawyer observing what’s ahead: Garrow’s men getting closer and closer to the entrance of the station. And under his breath, Sawyer says:

 

SAWYER: She hasn’t got enough time

 

And with a brief moment of tension – Sawyer pulls his trigger –

 

BANG!

 

One of the mercenaries hit in the leg, they all swing their weapons around in alert, – and then –

 

Heavily urgent music begins (1:57 – 2:32) as the area lights up in a storm of gunfire as the mercenaries react with bullets firing aimlessly between the station and forestry, and Claire and Miles are prompted to fire back at them along with Sawyer!

 

We see a quick shot on Kate as she rushes through the woods, pausing for a moment with horror as she hears the gunfire – realizing they’re already here. But she can’t turn back. Explosive in hand, she hurries onward, the back entrance just ahead…

 

Sawyer dodges quickly as bullets break through the wood of the gray trees, and he ducks down, his pistol tight in hand!

 

Miles sees a couple of mercenaries coming closer to his position, and he hesitates gunfire, and then turns to retreat further back in the woods!

 

Claire is steady in her position in the trees, aiming her rifle carefully and firing on each mercenary – but she only aims in the ground in front of them to startle them back!

 

We see a quick glimpse on her eyes – for just a moment, we almost think her eyes will seemingly grow dark with a fierce insanity – but they don’t. She is able to hold onto herself.

 

GARROW: BEHIND THE TRUCKS!

 

Garrow directs his men to take firing position behind the armored trucks. And as they begin to do so –

 

We hear a MONSTROUS SIREN (0:07 – 0:11) !!

 

The mercenaries all begin to turn in the direction of the sound in horror, and we see quick shots on Theodor and Ben!

 

BEN: I think that’s our cue to leave.

 

And as the mercenaries are scrambling, the music stops for the cacophony of FURIOUS MONSTROUS SCREECHING and mercenaries YELLING as A TRUCK SUDDENLY ROLLS VICIOUSLY THEIR WAY, CRASHING WITH A FIERY EXPLOSION!

 

We have another quick shot on Claire – as she’s suddenly hit with horror in her eyes again – as we can hear the mechanical clicking and ticking of the Monster near by. And we wonder, will this turn her back to the darkness?

 

Mercenaries are rushing away, some of them hurrying in their vehicles and driving away in the chaos of the situation! And then we see her – the silvery, smokey Monster, bright flashes ticking from her being, as she emerges into view, ticking and groaning monstrously!

 

The silver smoke monster lunges forth, crashing another vehicle viciously on its side, as we see the continued scrambling of the mercenaries as they flee the scene! The Monster chases one briefly away from the entrance of the station, long enough so that he’s a good distance from it, and then she swerves back around towards the entrance of the station!

 

Elsewhere in the gray trees, Sawyer and Miles have joined together. And then – Diya emerges, startling them.

 

DIYA: You can’t do anything to neutralize this island short of dropping a nuclear warhead in it.

 

Sawyer huffs out:

 

SAWYER: Well, there’s an idea! A familiar one!

 

Miles shakes his head.

 

MILES: Well it’s too late. Kate is already in the station with the bomb.

 

Diya looks urgent in her eyes.

 

In the next shot, elsewhere in the woods, a running mercenary suddenly halts to a stop before Claire – who holds her rifle intently at him. He holds his hands up.

 

CLAIRE: Drop all your weapons!

 

He drops the gun he is holding, and also carefully takes a couple of weapons out of his pockets dropping them to the ground.

 

And he stands anxiously, as Claire holds the rifle still –

 

And then she says:

 

CLAIRE: Go.

 

The mercenary then runs, Claire watching as he flees, sparing him. And we cut away –

 

In the next shot, we see an armored truck speeding away – and in another shot, we see Ben and Theodor sitting anxiously in the back of it as it moves.

 

In the next shot, we see Locke in his white-striped shirt and wheelchair, somewhere in the distance observing that vehicle speeding away, the sounds of the gunfire, yelling, and Monstrous roaring fading out of our hearing.

 

And as he sits there in thought, his eyes suddenly turn dark, haunted, as something startling – and terrifying – comes into his view. The music spirals a little with anxiety as Locke leans back in his chair.

 

Standing before him, is the dark-clothed Locke – and we hear a low, ominous moan of music transitioning into a darkly mysterious variation of a Locke theme (0:32 – 0:47). The darker Locke stands over him, almost casting a shadowy glare on the white-clothed Locke. And for the purpose of this particular scene, the white-clothed one shall be labeled as “JOHN”, and the dark-clothed one labeled as “LOCKE”.

 

John is not sure what to say – he can only manage, in frightened tone, frightened for his own sanity and sense of self:

 

JOHN: Who are you?

 

And Locke says, staring darkly into his soul:

 

LOCKE: You and I are both John Locke.

 

And John looks shaken still. This is the first time he has ever been acquaintanced with this darker persona. And he’s not sure he can believe it – but he’s plagued with self-doubt.

 

JOHN: Why are you here now?

 

And Locke replies:

 

LOCKE: We’ve always been together. But I broke off – you were too fractured. That’s why I have strength. Just like now, when you’re evading Ben.

 

John looks more uncomfortable. And the music beats both darkly and softly. John sits there, just looking fragile.

 

JOHN: But he’s a changed man.

 

And Locke replies darkly back:

 

LOCKE: But you’ll never overcome what he did. Nor what our father did.

 

John looks shaken still, as Locke leans in closer, encroaching on John, grabbing onto the armrests of his wheelchair.

 

LOCKE: And you know why?

 

John is silent, his eyes starting to well up. And Locke says sternly, almost angrily:

 

LOCKE: Because all those things that happened – it’s your fault – for being hopelessly weak!

 

John is hit heavily by this, why is this man – or his own self – torturing him? He looks down, ashamed and pained. The music turns into Locke’s tragic theme.

 

LOCKE: You couldn’t get what the Island wanted. You couldn’t get what Helen wanted.

 

John, angrily, tries to fire back:

 

JOHN: D-don’t tell me what I ca-

 

LOCKE: –Shut up! I’ve heard enough of your delusions for a lifetime.

 

John is startled by Locke’s forceful interruption. And he looks even more helpless, defeated. He can only ask:

 

JOHN: How can we get back together?

 

And Locke replies scornfully back:

 

LOCKE: I don’t need you holding me back!

 

John is frowning painfully. And Locke starts to step back, ready to leave. And before he does, he adds:

 

LOCKE: And Jack – he believes in me. Not you.

 

And this strikes John with shock. And with one final fire:

 

LOCKE: You’re not wanted.

 

And in the next shot, Locke is gone. And John sits there, pathetically in his wheelchair. His tragic theme beating more heavily (1:06 – 1:22).

 

He takes in this brutal conversation he just had. And he’s can’t take it anymore –

 

John holds his face down in his hand, breaking out in tears, sobbing severely. The music then blares dramatically, right before the scene cuts away –

 

In the next shot, we are back with Ben and Theodor in the armored moving vehicle, the music transitioning into something softer, quieter. Ben looks as though he’s thinking on something deeply regretful in his eyes.

 

And Theodor, picking up on this, assures him:

 

THEODOR: Trust me, Mr. Linus. You chose the right side.

 

We see Ben again – his expression unchanged. And we wooooooooosh off to:

 

 

Ben is standing at the railing of a wooden deck. We can hear the brushing waves of ocean.

 

In the next shot, we see him looking out ahead at said ocean. And we can hear discussion coming from inside – Ben turns to head in.

 

LAPIDUS: Food will be ready in a jiffy!

 

KATE: This is a nice little place you’ve got here, Frank.

 

And we can see that it’s a little restaurant with tables all around, the menus appear to be seafood-themed, and the restaurant is titled “Pilot’s Landing”. Everyone is taking a seat around a large round table. And Frank J. Lapidus, with a little scruff on his face by now, says:

 

LAPIDUS: Ah, it’s just somethin’ my uncle left me. Well, that and the yacht.

 

Lapidus, Kate, Ben, Hurley, Claire, Sawyer, Miles, and Walt are all here in this restaurant.

 

LAPIDUS: So, Hugo, if the yacht is what you need, why come all the way out here to the Bahamas? The way I’ve heard it, you could afford your own fleet.

 

HURLEY: Well, we’ve gotta be discreet.

 

BEN: The Hanso Foundation orchestrated this all to get back to their island. They want us to come here, hoping we’ll open their passage back.

 

KATE: They actually offered us power from this island.

 

And so Ben concludes:

 

BEN: They will be looking for us to buy our own ship. So that’s why we’re sneaking aboard yours, to get ahead of them in the game.

 

And Frank says half-sarcastically:

 

LAPIDUS: Well, nothing like a little sneaking between friends.

 

Lapidus then remarks coarsely in reminiscence:

 

LAPIDUS: Hanso Foundation – still never figured out why they destroyed Ajira 316.

 

Hurley looks to Ben, and Ben theorizes:

 

BEN: They don’t want the world to find our Island – because it’s bad for business. They only want the world to depend on their own resource.

 

LAPIDUS: Sounds like quite a conspiracy theory you’ve got there. …So, when do we leave?

 

And Ben replies:

 

BEN: First thing tomorrow.

 

We have one more glance on Frank as he nods with a smirk, and a few more reaction shots on Kate, Sawyer, Claire, Miles, Walt, and Hurley as they look apprehensive in each their own way for what’s coming.

 

And one final shot on Ben, ever calculating in his eyes for the plan ahead, before we cut to black.

 

 

[Commercial Break]

 

 

We see an overhead shot of a white yacht speeding across the blue ocean, leaving a trail in the water behind it. We hear a briefer, softer variation of the Freighter theme (0:53 – 1:11).

 

And in the next shot, we are with Kate and Hurley, standing together near the edge of the boat. They are now wearing the clothes we’ve seen them in during the present-day narrative (dark shirt and blue jeans for Kate, and brownish-green shirt and beige pants for Hurley.)

 

HURLEY: I’m surprised you all came with me.

 

Kate looks out at the ocean with reminiscence of the past. And she says:

 

KATE: I couldn’t go back to the Island, not after all the trouble we went to getting there and leaving ten years ago.

 

She then looks to him, heartfelt:

 

KATE: But I do trust you’ve made it safe for the kids. But it’s not safe for the rest of us – emotionally.

 

Hurley nods, understanding. She then looks back at the ocean:

 

KATE: Not for me, knowing I left him there.

 

Hurley, still looking out at the ocean, smiles, commenting, as we hear a warm variation of the main Lost theme (from about 0:34 and onward):

 

HURLEY: To be honest, I’m glad you guys came with me. You’re the only people in the world I would trust to bring this to a peaceful resolution.

 

Kate smiles as she looks out at the ocean. And then the others – Lapidus, Sawyer, Claire, Miles, Walt, and Ben emerge behind them. They’re all dressed in the clothes we’ve seen them wearing in the present day narrative – but something more, they’re all wearing diving masks and have cylindrical tanks strapped around them (except Lapidus). Miles also has the familiar dry bag strapped to him, and Sawyer is holding the gun case. The group is also dragging a weight with ropes with them.

 

LAPIDUS: We’re at your coordinates now. So here’s where I drop you off.

 

And the others begin to hand Kate and Hurley masks of their own. We see them strapping the masks on to their faces. Then they take the cylindrical tanks, strapping it to each other’s backs. All the while Lapidus continues:

 

LAPIDUS: For the record, I’ve avoided the Bermuda Triangle up to now. So if you’ll excuse me, I’m gettin’ out of dodge once you go.

 

And as he finishes, we see the others tossing the weight device over the rim of the boat, holding onto the rope handles. We hear some excitingly suspenseful music (0:05 – 0:26) anticipating the moments ahead.

 

Kate says sincerely, just before attaching the tank’s regulator to the mouth of her mask:

 

KATE: Thanks, Frank.

 

And with that, we see quick shots of Kate and the rest stepping onto the rim of the boat along with the others, and each of them jumping off at their own pace, with the camera highlighting Kate’s jump in particular, a very short drop into the ocean. There’s also a quick glance on Hurley alternatively climbing down a short ladder into the water. We also get a glimpse on Lapidus as he watches them.

 

Everyone now holding onto the ropes of the weight as they float the surface, with Kate taking one, and then Hurley arriving to take the last, they submerge under the water, as the music blares to a dramatic conclusion –

 

And we now see the team of seven swimming down slightly while holding the weight as it pulls them with further momentum, down through the dark blue depths. The music is now something calmer yet ominous, evoking the descent into the water (perhaps similar to 3:31 – 3:46).

 

And as they descend further and further, we get shots on each of the seven through their masks, one at a time. The music gets heavier, faster, and more distorted with each passing moment (similar to 0:11 – 0:26) as they descend further and further through the deep. We hear the sound of their breathing through their regulators.

 

And they descend further and further, the music increasing faster.

 

And they descend even further and further, the music even faster with the quick camera shots.

 

And at last, the music gets quiet again as they reach the seabed, floating before a rocky cavity, and the music escalates more heavily (3:34 – 3:45) transitioning into something more ominously mysterious as they see what’s ahead:

 

A rock formation that extends upwards and diagonally into a thin point. It appears to have a faint glow underneath it, and we can hear a faint hum as well. It appears to be a natural wonder, not manmade.

 

And Hurley and Ben start to swim over to the odd formation, the others swimming closely behind them. We hear a musical piece of both mystique and epicness (3:11 – 3:38). The two begin to pull, press against the rock, especially by gripping it at its uppermost point.

 

Hurley waves his hand through the water, motioning everyone else to help. And so they do: Sawyer, Miles, Claire, Walt, and Kate all swimming to the rock formation, as the music escalates heavily, and each of them beginning to shove or pull at the rock.

 

And as they shift it, we begin to hear a magnetic vibration growing louder, and louder, as a the glow under the rock simultaneously rises brighter and brighter – as everyone puts in all their might.

 

Hurley swims apart from them, trying to get at a better angle. And suddenly, with a rising, energetic whistle-like sound (1:29 – 1:33), the golden-white energy suddenly erupts from the rock formation, overtaking them all in a flash! And we simultaneously hear a wooooooooosh sound effect, as our last shot is on Kate’s masked faced being engulfed in the burst of light:

 

 

And the light fades back to the dim corridor of the Tin Man station, Kate holding the explosive device in her hands.

 

She is in the large room with fencing around a pit. Holding the device, we see her flip a few switches on it, causing the red digital timer to alternate between numbers, until it arrives at 5:00 and begins blinking, beginning its countdown. The music beats suspensefully.

 

Ready to chuck it down into the murky waters of the pit, she hesitates – and we sense someone coming from behind.

 

She turns, and we see that it’s Diya! And Diya calmly says:

 

DIYA: Please don’t do this.

 

And Kate says, insistently back:

 

KATE: We have to destroy the power here to stop the Hanso people.

 

The music beats tensely still. And Diya explains:

 

DIYA: The only thing you’ll do here is destroy this station.

 

And Diya hesitates from stepping closer, so as to not incite Kate to tossing the bomb down.

 

DIYA: Tin Man has its own consciousness, networking through all the energy throughout this island. It’s in control of security everywhere. It guards access to the island’s power. It’s also controlling the island’s movement.

 

Kate listens, the music still beating tensely. And Diya further comments:

 

DIYA: But if you destroy its central hub here, it’ll never trust you to let you access the island’s power. And it’ll never let you return home to your children.

 

Kate stands tensely, the timer still blinking. And thinking fast, she retorts:

 

KATE: Or maybe destroying it will stop its control.

 

Diya stands tensely still, the music beating tensely with the two. The tense beats are reminiscent of the mystical Tin Man theme.

 

DIYA: Maybe – but do you really want to bring this all to ruin? Hurley’s dream was an era of peace. And it’s dying with him.

 

We hear a few soft, tense notes of Hurley’s theme, as we see Diya’s words striking into Kate.

 

Kate is still hesitant –

 

KATE: I can’t.

 

DIYA: Why not?

 

And with a soft yet heavy note, Kate confesses:

 

KATE: Because I’m afraid of losing who I am – for what the island can give me.

 

Diya says, with hope in her heart:

 

DIYA: I’ve spent time with you, all of you. I’m willing to put my trust in you.

 

And then she says:

 

DIYA: Please trust me.

 

And with a few more soft notes of pause – Kate finally clicks the switches on the explosive again. The 4:00 turns blank – off.

 

And there is another soft note, and Diya says:

 

DIYA: Thank you.

 

And we see a shot from the Tin Man security feed’s point of view: on Kate as she stands paused in silence for a moment, before asking:

 

KATE: So how do we get this… thing to trust us?

 

And, back in our normal point of view, Diya stands there for a moment, as she is about to speak her answer – and before we can hear what she will say, we cut away from the scene —

 

— And with a more quiet note, we again see the first Island in its beautiful green majesty again – and this time it’s on the backdrop of a dark nighttime scenery.

 

Inside the sick bay, we see Bernard starting to sit up. He looks a bit less frail, weak than he did before. And marveled, he comments:

 

BERNARD: I think I’m feeling better.

 

Rose is the only other one in the room with him now. And she smiles:

 

ROSE: It must be all the prayer.

 

And we hear a heavier variation of their theme (1:33 – 2:23) playing again. Bernard smiles.

 

BERNARD: I think you’re right. … I wanna see outside.

 

And we have another shot on Rose’s smile, before we cut to outside –

 

At a later moment, the two sit down together at a bench on the nighttime lawn of the Barracks. And they look out across as the starry sky shines down on the green trees and mountains in view ahead.

 

BERNARD: It’s beautiful out here. We really made a peaceful life, didn’t we?

 

He smiles to her, and she nods, smiling back. Their theme music playing softly still.

 

ROSE: Y’know, if it was both our time to go now, I’m content.

 

Bernard nods.

 

BERNARD: I’m satisfied with the time we had here.

 

And after a pause, he adds, looking up at the sky prayerfully, with a warmth:

 

BERNARD: I’d give all the prayers for me to someone else, somewhere in the world, who really needs it.

 

And Rose smiles, tears coming out of her eyes. And the two just look up at the sky still, as their music plays heavily.

 

And we cut away –

 

In the next shot, we are with Desmond, Penny, and Charlie on sofas in one of the houses as they sit together, Desmond pondering on philosophical thoughts. And we hear a knock at the door.

 

Desmond gets up from his seat, and slowly walks onward to the front door. He creaks it open, and Cindy is standing there, her eyes watery.

 

We hear a few soft notes of Rose and Bernard’s theme.

 

CINDY: Bernard’s died.

 

And we have one more shot on Desmond, as he looks down, a heavy sadness in his own eyes, with a few more soft notes of Rose and Bernard’s theme.

 

And we cut away again —

 

We are now in a messy hospital room – Walt is in here, wearing a face mask like some kind of professional surgeon, looking relieved in his eyes. There are bloodied medical utensils lying on metal tables around.

 

Jack is leaning over, examining Hurley’s wound. And then he leans back up, nodding with relief and satisfaction of his own.

 

JACK: The bleeding’s stopped, and he’s healing.

 

There are a few soft, mystical notes to this. And we register Walt’s mystified eyes.

 

WALT: The wound was so bad. How is it possible?

 

Jack stands there, smiling still. And he just says:

 

JACK: It’s not his time to go yet.

 

And with another soft, mystical note, we register Walt’s eyes again, still in awe.

 

And then one final close-up on Hurley as he lay peacefully unconscious, with one more soft note, before cutting to black.

 

 

[Commercial Break]

 

 

We have a slow, beautiful view of a nighttime beach, with dark ocean waves gently brushing against it, and exotic green trees just up ahead. There’s a pyre with a glowing orange fire. But most notably, there’s a huge crowd of people here. This beach is clear of any structures, so it must perhaps be one near Rose and Bernard’s cabin. We hear a variation of Life and Death with hints of Rose and Bernard’s theme mixed in, and perhaps some mystical notes as well.

 

Standing among the huge crowd, we see everyone we might recognize – Desmond, Penny, Charlie, Tamar, Aaron, Carole, Ji-Yeon, her grandmother, both Hurley’s parents, Vincent the dog, and perhaps even some familiar extras. Near the pyre is a pit that has been dug out. There is a stretcher on the ground near the pit, with a cover over a body in the shape of Bernard. And Rose is standing here still, peaceful though teary in her eyes. Cindy is also here, standing in a leading position.

 

We don’t hear any words for a few moments during this scene, only shots on each of the characters. We also see Hurley’s mother doing a cross symbol with her hand. Cindy appears to be giving a speech.

 

The music, though still playing, then quiets a little as we stand with Desmond and Charlie. And Charlie says quietly and sadly:

 

CHARLIE: It seems like such a pointless way to die.

 

Desmond shakes his head a little, though he’s not too sure. But he imparts to his son:

 

DESMOND: No, I think we all die when it’s our time.

 

And we have a shot on Charlie, and then on Tamar behind them as she listens in. And he continues:

 

DESMOND: We may not always know why. But I think death is supposed to teach us, too.

 

Tamar steps up closer to them, as they observe over the crowd, Cindy and Rose still standing ahead near the pyre, speaking.

 

And Tamar comments, agreeing, and inputting her own viewpoint:

 

TAMAR: I think Bernard’s death is a reminder of how much peace and unity we can have here.

 

There is another pause, as we have a shot on Desmond.

 

TAMAR: My sister, Ilana, always pushed us to violence. She had us train with explosives. And one time, we didn’t get far enough away.

 

Desmond listens to what she is saying.

 

TAMAR: We were both in the hospital for months with burns. But she pressed on, when I knew it was time to stop.

 

And there is another pause, before Tamar adds:

 

TAMAR: She had made it her life’s mission. And she drove herself right to a seeming pointless death here. …I wish she had waited with me.

 

The crowd still listens to Cindy or Rose ahead, while Desmond stands among them, listening to Tamar. And she adds, almost with some contempt:

 

TAMAR: Jacob ruled an era of conflict. But Hugo has built an era of peace. And if you need proof, look no further than Bernard’s passing and Ilana’s.

 

Desmond nods slightly, listening, and Charlie listening also.

 

TAMAR: I’m proud to work for him.

 

And we hold on Desmond and Charlie as they stand near Tamar. And the scene cuts away —

 

— We are now back in the hospital room, Hurley lying unconscious on his bed, now with a blanket draped over his torso. He is still hooked into the equipment around him, his monitor beeping calmly. We still hear the Life and Death theme playing through this scene.

 

Emerging into the room with Walt are Kate, Diya, Sawyer, Claire, and Miles. They all begin to surround the bed. They all look relieved a range of relieved and optimistic.

 

MILES: How’d you do it, Walt?

 

Walt, not sure what to say, just says:

 

WALT: It’d be hard to explain.

 

We see a shot on Hurley still, his eyelids quivering a little.

 

WALT: I think it’s a miracle.

 

The music beats a few notes mystically to this.

 

Sawyer approaches Hurley’s bedside, with regret heavy in his eyes.

 

SAWYER: Hugo… Sorry I joined up with Theodor. …Shoulda stuck with you.

 

Claire, coming to his bedside also says:

 

CLAIRE: You’d be glad, we made some real progress today.

 

And she says, with some gladness and gratitude:

 

CLAIRE: I could have hurt someone today – but I didn’t.

 

We see a smile on Kate to this statement.

 

And Diya says hopefully:

 

DIYA: A step has been made towards peace.

 

And they take a moment, before starting to drift away from his bedside. And at last, we see a small, faint smile on Hurley’s face, though his eyes still can’t open much for now.

 

And the music beats its last soft note before we cut away –

 

We are elsewhere on the islet now, as it’s nearing sundown in the dreary environment, graying trees and withered down buildings surrounding the crowd: Theodor’s men have stopped at this location. Theodor himself is standing around in his crutches, while Garrow and his mercenaries wander close by, arguing amongst themselves. Ben is also standing near by.

 

THEODOR: -How did she get loose?!

 

Garrow says firmly:

 

GARROW: I couldn’t say.

 

And then – walking up onto the scene:

 

FOSTER: It was me.

 

There is a somber note as he walks up, his arms held up in surrender.

 

And we hold on Theodor – we can see the hint of shock and betrayal in his eyes, though he holds his cool about it.

 

THEODOR: Why, Foster?

 

And Foster says:

 

FOSTER: Because it was the only way to stop you. I’m sorry, Theodor. But I can’t endorse your path anymore.

 

He looks to Garrow and the other mercenaries, who all look at him threateningly.

 

FOSTER: You’re becoming too much like them.

 

And with hesitation, Theodor says:

 

THEODOR: You know this treason calls for the firing squad.

 

Foster stands there still, his arms still head up. And he just nods his head, accepting his fate.

 

FOSTER: I do. But I won’t abandon my place alongside you.

 

And there’s one more shot on Theodor, his face sinking a little for his long-loyal officer. We hold on this shot for a moment, as the music beats somberly.

 

And then in the next shot, it’s some later moment, and we hear a dark beat of music: Garrow’s mercenaries are all standing alongside each other, their guns all poised to fire. Theodor, in his crutches, standing behind them, and Ben standing near by.

 

There are a few tense beats, as we see Foster standing still, his hands held on the back of his head, as he awaits with acceptance yet some fear.

 

And Theodor, his eyes coldly looking on now, orders:

 

THEODOR: Fire.

 

And we see Ben flinch in reaction as we hear the simultaneous, chilling sounds of all the guns firing.

 

And we cut away –

 

In the next shot, it’s now later at nighttime. Theodor is seated on a chair atop a building somewhere on this island, sitting alone, his mind ever calculating as he observes the dreary island around. The music beats icily.

 

Next to him is a table with a bottle of wine on it, which he turns to face. He reaches out his arm, trying to grab it – but he can’t reach.

 

He then tries to stand a little, though without grabbing his crutches, and stumbles a little, knocking the table, causing the bottle of wine to tilt over and fall –

 

And it’s caught – by Diya! She is now standing on the roof with him. And we begin to hear her theme, its classical Indian style beating mystically, with hints of sorrow and thumps of darkness. It plays throughout this scene.

 

Theodor struggles to maneuver back into his seat, somewhat surprised to see her, though not afraid to.

 

THEODOR: We haven’t spoken in a while.

 

Holding his bottle of wine, staring down at its darkness, before turning her gaze out across the island.

 

We see a full shot of them both – the two alongside each other in the darkness. On the left, Diya in her dirtied white shirt, and on the right, Theodor in his black shirt.

 

THEODOR: You could kill us all right now.

 

But Diya shakes her head – she won’t.

 

DIYA: I try not to kill now. But even if I could, you’re the one I can’t kill – it’s against the program.

 

Theodor turns his gaze back out at the dreary, dark view ahead of them.

 

THEODOR: So why have you come?

 

DIYA: I’m here to make a peace offering –

 

Theodor turns back to her, curious. And she says:

 

DIYA: You’ve sought to learn from me how to control Tin Man – so you can open back access to the island’s power.

 

She then turns to face Theodor again. And she reveals:

 

DIYA: I know nothing. I never have.

 

There is a dark ‘dun’ to this as we hold on Theodor’s reaction, as he registers what she just said.

 

DIYA: I kept that from you all these years of conflict. But I’ve decided to tell you now.

 

THEODOR: …Why?

 

And she says, looking back out at the view ahead, with a soft tone of music:

 

DIYA: So we may cease fire. We’re deadlocked.

 

She looks back to Theodor, a fierceness in her eyes.

 

DIYA: Leave Hugo and his people alone.

 

And he remarks darkly, looking back out at the view:

 

THEODOR: I will uncork the island’s power.

 

And we register her expression, one of some apprehension and determination.

 

DIYA: You’d destroy every single person in the world.

 

There is a heavy, ominous note to that. And Theodor shakes his head.

 

THEODOR: No – I’ll save everyone.

 

He says this, staring at the dark bottle of wine she’s still holding. And electing to leave now, she hands it back to him at last.

 

DIYA: You’ll need something to pass the time.

 

And he holds it – in this next shot, we see she has vanished again next to him.

 

And we hear some variation of Theodor’s tragically sorrowful, darkly haunting theme, as it escalates heavily. The camera panning around him, as he holds up the bottle of wine.

 

THEODOR: Only a few days.

 

And the music blares dramatically to a climax as he pops the cork out of the bottle – and a splash of its dark wine symbolically hits the lens of our camera view, darkening it into blackness:

 

And with a thud,

 

L O S T

 

[End Credits]

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