Lost – Season 7, Episode 10: “Daemonium Ex Machina”

PREVIOUSLY, ON LOST…

 

[From 7.04 Samsara, we see Diya watching her dying father in the hospital, while a Galen line from that episode is voiced over]

 

GALEN: -a project called SAMSARA. We would like you to join as one of our lead researchers.

 

[From 7.06 Paradise Lost and 7.02 The Gifted, multiple clips, first contrasting Theodor and Diya’s opposite claims]

 

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

 

DIYA: Theodor […] killed the […] half who kept their sanity.

 

[Then a shot of Aaron holding his head as he’s under dark attack. We hear dark music throughout the rest of these clips]

 

[Then a clip of Claire shooting Harper Stanhope under Charlie in Black’s influence]

 

[Then from 7.08 The Peacemakers, the dark and light Locke together, the darker one sharply snapping]

 

LOCKE IN BLACK: And Jack – he believes in me, not you.

 

[A shot of light-clothed John in tears.]

 

[And then finally from the cliffhanger of 7.09 815]

 

HURLEY: -you aren’t Locke. […] You’re the black smoke.

 

[A shot on the Locke in Black’s dark stare.]

 

Episode 7.10: Daemonium Ex Machina

 

 

We open with a shot of the ocean. We are at a rail as we look on sight, and we can hear the sound of low motors. And the camera pulls back slowly to reveal a hand at a rail – Diya’s. And we see she is in dark clothes, standing there staring out at the ocean.

 

And then we have a shot on Diya’s face as she stares, the blue ocean reflecting in her eyes, which convey a sense of conflict and poignance. And the music softly beats with a tone to reflect that.

 

And in the next shot, we see the ocean again: and this time, in the distance, fading into sight in an almost mystical fashion, is a grayish-green form: Island 2. The music turns into something darkly mysterious though still soft.

 

And we now see Diya’s eyes again – they quickly flicker into determination and satisfaction, as she shifts her thoughts, drowning out what she was thinking of before. The music also beats a touch more with enthusiasm and some wonder.

 

We then see a wider shot: Diya at the rail of what is more clearly a boat, with Galen near by, along with Belle and a few other unnamed new recruits. Galen and Belle look to be at least 15 years younger than we have seen them in the present, despite Diya looking the same age.

 

GALEN: We’ve made it to be only found on certain bearings.

 

Diya is fascinated.

 

DIYA: What is this place?

 

And we hold on her intrigued expression, as we hear him reply enthusiastically:

 

GALEN: A world of prosperity… Welcome to your new life.

 

And we focus on Belle standing near, as she looks as though she wants to approach Diya. But she hesitates.

 

And in the next shot, it is a while later, as the boat has now docked at the wharf. (We can see we are at Islet D, as there are distinctive characteristics, including the nearby dock of canoes. The boat has arrived through the channel of water between Islet D and Islet A, the latter of which can be seen in its noted forestry in the distant background.)

 

In the next shot, we see as Diya steps off a ladder on the side of the boat onto the wharf, followed by the other new recruits joining with her. And we hear a musical theme similar to the Island exploration theme (0:17 and onward) except the version we are hearing is actually inverted in some of its notes (allusive of this island’s oppositeness to the first island.)

 

And there we see Theodor standing, in lighter-colored clothes, outstretching his hand in greeting. He has a certain warmth in his face. And he looks the same age as he does in present day.

 

THEODOR: Hello, Professor Mishra. I’m Dr. Theodor Kant, head of SAMSARA.

 

Diya takes his hand, shaking. And we get a good shot of the two of them together meeting, Theodor in his lighter clothes and Diya in her darker clothes.

 

In the next shot, it is later on: the group of recruits is now inside one of the large dank rooms of the underwater station. On a TV screen is a recording of Pierre Chang, who looks older, gray-haired. His demeanor is weary.

 

DR. CHANG: We are pleased to welcome you to SAMSARA…

 

On the screen, we then see the acronym SAMSARA spelling out into the name Secondary Administration for Material Studies, Applications and Research Advancement.

 

DR. CHANG: You are currently in Station 1, the Garden, so named for the fruits of knowledge it bestows. This is the primary hub of SAMSARA’s work, where we advance research of the Equation –

 

And on the screen, the numbers 4 8 15 16 23 42 appear across it. Diya is then distracted –

 

BELLE: Hey, I’m Annabelle.

 

She still looks a little nervous, troubled.

 

BELLE: I’ve heard you were brought on as head of research?

 

During their conversation, the recording of Dr. Chang continues to talk in the background. An observant viewer might catch onto things he says.

 

DR. CHANG: Building on knowledge accumulated from the DHARMA Initiative, the Garden has sufficient apparatus for the study of psychology, zoology, and electromagnetism. The entire station is also designed for study of utopian society for the occupants inhabiting it. Outside on the surface, you can find an additional building which studies the weather of this island for meteorological research.

 

(And across on the screen, images flash across as Dr. Chang names the research fields, including solitary rooms for psychological experiments, a room of marine animal tanks, a room of a bear skeleton display, an empty pool, several living quarters, and the weather building outside.)

 

All the while, in the foreground of the screen, Diya and Belle continue to talk.

 

DIYA: We shall see.

 

Belle nods –

 

BELLE: I’ve heard you documented how very gifted children could have strange influence on machines, especially computers – increasing learning after interaction.

 

Diya smiles and nods, pleased with her interest.

 

DIYA: Yes, I believe they could draw spirits to influence them. Unfortunately, most of my colleagues don’t consider it valid.

 

Belle smiles – and she reveals, with a suggestion of hope in her voice:

 

BELLE: Well, I can tell you your research is valid. I have the gift too… I’ve communicated with spirits.

 

There is a soft tone of music, and Diya is taken by surprise for her forwardness.

 

BELLE: I’ve had a hard time with it. I could really use a friend who understands-

 

But now Diya is taken a little aback, and she stops her –

 

DIYA: – Oh, I’m sorry. I don’t get personally involved with subjects, I only study them.

 

BELLE: Oh.

 

Belle nods awkwardly, looking down away, as Diya also fidgets and turns slightly awkwardly from her as well.

 

And just then, Theodor walks up to them again.

 

THEODOR: I would like to speak to the both of you, alone.

 

And then in the next shot, Theodor, Diya, and Belle are now in his office, each in a seat. And he starts with Belle, in an enthusiastic tone.

 

THEODOR: Annabelle, from what I’ve read, you are a remarkable person. I can’t wait to get to know you better.

 

And she lights up a little to this. And then he turns his gaze to Diya.

 

THEODOR: And Professor, I am particularly excited about the prospects of your research.

 

And Diya looks intrigued, though perhaps a bit skeptical, as to where her research could go.

 

DIYA: Why?

 

And he explains:

 

THEODOR: Our progress has been sluggish the past twenty years. …We think you’ll be the revolution everyone’s been waiting on.

 

Diya gives a hopeful nod and smile.

 

DIYA: Well, I will certainly aspire to it.

 

Theodor nods. And then he tells her:

 

THEODOR: This island is a special place. I’d like for you to develop a system to keep it protected.

 

The music beats softly still, as Diya feels the suddenness of what has just been placed on her. But it is a challenge she is eager to take on. And as we hold on her expression, we wooooooooosh away:

 

 

Diya is seated on a sofa in what looks like a hospital waiting room. The lighting is dim. She watches as Walt heads out into a hallway out of sight. Sawyer also happens to be in here, seated on another sofa, hunched over with his hands together, thinking to himself. And then he remarks:

 

SAWYER: Was never good with kids.

 

Diya looks to him. And she then remarks also:

 

DIYA: Neither was I.

 

And then he confesses to her:

 

SAWYER: I’ve got a daughter. And a – almost like a nephew. We didn’t bring them to Hugo’s island because I didn’t wanna mess with their lives.

 

Diya nods, listening.

 

SAWYER: Hugo has some people watchin’ them. But I don’t know if that’s enough.

 

And then, after a moment, he asks:

 

SAWYER: So, how can we get control here? ‘Cause that’s the only way we can stop the Hanso people.

 

Diya thinks for a moment, and then says truthfully:

 

DIYA: I don’t know. I’ve just been trying to protect this place.

 

He then sighs in response. And he decides to raise what he considers a very good point:

 

SAWYER: Last smoke monster I knew, Lo- well, not Locke. Uh, Deadbolt. Tried to kill us all! …So, can I trust you?

 

And Diya replies back sincerely and strongly:

 

DIYA: Yes.

 

And Sawyer reads her eyes. And somehow, he believes her. And he nods, and then asks, out of curiosity:

 

SAWYER: So you’re like… security, around here?

 

Diya nods. Though she doesn’t divulge any further details, leaving them cryptic.

 

SAWYER: I used to be security…

 

And with that remark, we see one last shot on Diya. Before we cut to –

 

Elsewhere, Kate and Claire are sitting together. The two smile to each other.

 

KATE: I was so worried about you while Theodor had you.

 

CLAIRE: It wasn’t so bad. He showed me what I needed to know. … Now I just need Aaron.

 

Kate nods, smiling still, and realizing they should get in touch with the kids again soon.

 

KATE: You seem more at peace now. …I think I’m gonna be, too.

 

Claire smiles still also. And we cut away once more –

 

Now we see Walt entering into Hurley’s room. Hurley is still hooked up to the medical equipment, laying in bed under the covers. His eyes are barely open. Jack is standing in here, and Locke in wheelchair alongside him. The monitor still beeping.

 

And Hurley barely speaks out:

 

HURLEY: Dunno how… long I’m awake.

 

JACK: You need to get as much sleep as you can.

 

Walt gets closer to his bedside, listening intently.

 

HURLEY: I’ve spoken to the Island…

 

And we register the reactions of Walt, Jack, and lastly Locke to this, various expressions of surprise and wonder.

 

HURLEY: Need to tell you what I found out…

 

And Hurley barely tilts his gaze towards Locke. And he says softly:

 

HURLEY: Dude… dark Locke isn’t you… It’s him…

 

And we take in Locke’s reaction to this, mystified – and also relieved. And perhaps also disturbed at the realization that someone has been using his image. But also pained remembering his last conversation with the darker Locke. And we cut away –

 

Back in the waiting room with Diya and Sawyer, it is later. Walt emerges into the room with a look of determination on his face. And Diya and Sawyer turn to him.

 

WALT: Hurley woke up for a couple of minutes… but he’s asleep again…

 

Sawyer looks relieved at what Walt was starting to say. But Diya takes note that Walt seems to have something to say to her in particular.

 

WALT: He said that he found out, both you – and Theodor, are needed to save both islands. …So, what do you know?

 

Diya looks puzzled. She seems to genuinely not know what he’s talking about.

 

DIYA: Tin Man is controlling everything here… But I have no power over it.

 

WALT: I thought you helped create it?

 

DIYA: It wasn’t my intention to… 

 

She has no idea what can be done. Unless… and then, a realization suddenly hits her.

 

DIYA: Pierre Chang… He knew how to reach Tin Man. But, he’s been long dead…

 

MILES: That’s not a problem.

 

Miles suddenly emerges into the room, having heard what they said. And the music starts to elevate a little more with some suspense or excitement – a sense of determination for a new plan going into motion. And Walt nods and says:

 

WALT: We need to tell Ben. Where is he?

 

And Sawyer, Miles, and Diya all suddenly exchange glances. He still doesn’t know yet…

 

SAWYER: Walt…

 

And as Sawyer begins, our frame holds on Walt’s face for a moment, with soft, pained music beginning to play. It’s suddenly hitting him that something is wrong…

 

In the next shot, is minutes later. Walt is wandering alone somewhere in the hospital, as we can see in his face, he is taking in the shock to his soul of what he’s just learned. He is in disbelief, looking down. The music droning softly with despair.

 

And then suddenly –

 

LOCKE IN BLACK: Hello, Walt.

 

Walt is startled back. And we see, standing there, is the Man in Black in Locke’s form. Dressed in the dark burial clothes as usual. A darkness seems to flare from his eyes as he stares at Walt. The music beats hauntingly.

 

WALT: What do you want?

 

And the Locke in Black steps a little closer to him.

 

LOCKE IN BLACK: Now that you know who I am, I’d like you to help me… 

 

Walt looks puzzled. What could he possibly want?

 

LOCKE IN BLACK: I need you to talk to Diya for me.

 

Walt pauses – and then shakes his head.

 

WALT: I don’t trust you.

 

The Locke in Black lets a quick snicker out of his nose. It was worth a try.

 

LOCKE IN BLACK: What I thought you’d say.

 

He starts to turn to leave. And Walt looks down again, overwhelmed again by the shock and despair of what he learned about Ben’s actions. And as he thinks on it, the Man in Black glances back one last time.

 

LOCKE IN BLACK: You look confused, and alone, just like he did…

 

WALT: …Who?

 

And the Man in Black turns, stepping a little closer, a smile almost on his face.

 

LOCKE IN BLACK: Your father… When I watched him die.

 

And the music sinks as Walt is startled on some deeper emotional level by what he has just said.

 

And in the next shot, the Man in Black is gone. And Walt is standing in the room alone, again. The music escalating with a dark tension.

 

And the music turns into a quick blare as we hold on Walt’s darkened eyes. And we cut to black.

 

 

L O S T OPENING LOGO – it’s reversed

 

 

[Commercial Break]

 

 

We are now inside the computer room of the Tin Man, though it has less equipment in it than we’ve seen before. The room is bright, and we hear the activity of people working in the background elsewhere in the station. And Diya is seated at the computer, wearing eyeglasses.

 

[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, Andrea Roth, 6 undetermined guest actors, 5 undetermined guest actresses. Special Guest Star L. Scott Caldwell, Special Guest Star François Chau, Special Guest Star Kimberley Joseph, Special Guest Sonya Walger, Special Guest Star Titus Welliver. The rest of the credits also listed.]

 

She is typing at the keyboard, and we can see across the screen, several complicated loading bars. And then we hear a voice from outside the room:

 

DR. CHANG: Professor Mishra, are you busy?

 

She turns in her chair to face the gray-haired Pierre Chang who is wearing his typical white lab coat.

 

DIYA: Not for a little while. The computer network is syncing with the electromagnetic network.

 

She gets up from her seat. And Pierre looks as though something is on his mind.

 

DIYA: What do you need?

 

And so he decides to ask:

 

DR. CHANG: You’ve studied gifted children… Do they… tend to function in life, as they get older?

 

DIYA: It depends on the person…

 

Pierre nods. And he explains:

 

DR. CHANG: It’s my son. I haven’t seen him since he was a baby. My wife wrote me letters that he… Well, he has something.

 

There are a few soft notes of Miles’ theme. And she nods, understanding his meaning. And then she asks:

 

DIYA: Why haven’t you seen them?

 

And Pierre shrugs a little with a twinge of regret.

 

DR. CHANG: I’ve tried to keep an eye on SAMSARA to ensure it doesn’t make the same mistakes as DHARMA.

 

There is a dark musical note to this remark. And we see on Diya’s face as she registers what he just said, perhaps already having some familiarity from having heard about DHARMA’s fate.

 

And then Pierre gives some frank advice:

 

DR. CHANG: Diya… This experiment everyone wants you to do, you can always back out of.

 

And she looks surprised by what he has said. And there is a soft beat of music.

 

DR. CHANG: Many here are only seeking glory. Me, I was a scientist. I just wanted to learn.

 

There are a few more soft beats, as we see Diya taking in what he just said. And we cut away –

 

We are now elsewhere, outside across a grassy land near trees. The vegetation looks grayish, though there is some pale green also. Diya is walking alongside Theodor, the former in darker clothing and the latter in lighter. There are other SAMSARA members alongside them as well in a crowd.

 

THEODOR: Diya, for a long time, I’ve tried to keep this place sanctified. I limited the amount of people I was willing to allow to this island.

 

And she listens intently as he talks.

 

THEODOR: But the more time goes on, the more necessary it becomes for us to meet the advancements of the world outside.

 

And finally, he states, coming to a halt with her:

 

THEODOR: We’ve brought here what you’ll need to complete your development of the security system…

 

DIYA: And what is that?

 

And Theodor looks around their environment expectantly, the others with them doing so as well. Though Diya is puzzled as to what they are looking or listening for.

 

And then — with A STARTLING SLAM, several green trees go bursting outward, causing everyone but Theodor to jump.

 

We hear the sound of a low, mechanical rumbling (0:00 – 0:20). And suddenly, black smoke starts to materialize, forming into a cloudy figure – the smoke monster!

 

Diya looks stunned by what she is seeing, and some of the other SAMSARA members nearby also look stunned! But for us, it’s a shock to see the smoke monster in a place somewhere other than the first island?

 

And as it groans in its rumbling, it starts to float towards her! She stands there, somewhat nervous yet fascinated also, and some of the other SAMSARA members look unsure whether to stay, fight, or run! Only Theodor looks fully calm.

 

And still with its low, mechanical rumbling groans, the Monster starts to surround Diya, encircling her in its dark smokey essence! And we can hear ticking from within, little bright flashes bursting from the smoke!

 

And then, images start to appear in the smoke! Quick images of Diya’s family, especially her father, and also her two sisters. We see flashes of scenes we saw in 7.04 “Samsara”, especially of her father younger when she was a child, and when he bitterly disowned her as an adult, and the last time she spoke to him when she rejected his attempts to make amends, and of course the last time she saw him – on the hospital bed dying!

 

And Diya looks distraught and horrified in her eyes, not sure how to make sense of the monstrosity she is seeing around her, deeply struck in her soul. And we hear a dark variation of her theme music, especially with emphasis on the dark monstrous thumps.

 

And the music escalates into something quieter but proportionately eerie, as the flashes begin to change into something else entirely! We now see images of his surrogate Mother, his brother Jacob, then the cave of light leading into the Heart of the Island, a quick image of the Man in Black’s biological mother Claudia, then images of a sudden emergence up a rocky waterfall tunnel, and out into the greenery of the Island! And then a glowing fiery-red cavern! Some of these are archival shots and some are new. We hear flashes of the Man in Black’s theme through these moments.

 

More images we are unfamiliar with: a large towering stone block being carved out of, by men standing on ladders, into a familiar shape, a partially-constructed statue of Tawaret. In other languages, we see various texts being carved into stone, like hieroglyphics, cuneiform, and other ancient written languages. And then we see an image with wisps of smoke, hovering over a group of ancient people encircling and bowing within a Temple environment.

 

And then the music escalates fiercely as the flashes start to change to the ancient people arguing with one another, then fighting! Stone structures being destroyed, fires bursting! People screaming! Diya still looking horrified in her eyes as she sees what is unfolding! And then with one last low mechanical groan, Diya is surrounded in a bright flash!

 

And suddenly, standing there in gray hair and dark clothing with steely eyes, is the Man in Black, in his original form of Titus Welliver.

 

Everyone stands around, still unnerved, except for the calm Theodor, while Diya and the Man in Black stare towards one another, the former still simultaneously fascinated and shocked, while the latter still steely-eyed.

 

And he says in a gruff voice:

 

MAN IN BLACK: So, I was told you need my help.

 

And in the next shot, it is later on – Diya now showing the Man in Black a room in the Tin Man. And we can hear a variation of the Man in Black’s theme (0:00 – 1:45), sometimes soft and sometimes more menacing. The room is one we’ve seen before in present day, though here in the past it looks more fresh. There is an open valve of water at the end of the room, but rather than being bacterial, it is fresh and clear. There is a low glow emitting from it with a low hum.

 

As the Man in Black stands near the water, examining it, Diya asks him a question, one that we can see has clearly troubled her:

 

DIYA: Why did you show me those things?

 

And without hesitation, still staring into the water, he answers:

 

MAN IN BLACK: Ever since I became like this, my existence has inspired the worst in mankind. They come aspiring to create, but in the end, they destroy.

 

And then he turns toward her, staring hollowed-eyed still.

 

MAN IN BLACK: The same will happen here, if you create another being like me. It always ends the same…

 

And she looks surprised by his destructive philosophy.

 

DIYA: But aren’t you a security system?

 

And he snorts, shaking his head. And he confesses to her:

 

MAN IN BLACK: People always make me in the image they want. Your scientists want me to be a machine. The ancients – thought I was a god. So I play along.

 

So she then asks the obvious:

 

DIYA: Then what are you?

 

And he declares:

 

MAN IN BLACK: I was a human, and now I am the rawest form of human… And so, you will need a human as well.

 

Still staring at her for a moment, he then says:

 

MAN IN BLACK: You.

 

And Diya looks struck by what he just said.

 

MAN IN BLACK: I already saw the choice in your mind. You’ve dived into this, running from what you did to your father.

 

And we hear a few dark notes of Diya’s theme, mixed with the Man in Black’s theme. She stands there, gutwrenched by what he just said. And then he says:

 

MAN IN BLACK: I will tell you the electromagnetic specifications you need.

 

He then pauses, before explaining, with a tone of familiar disgust:

 

MAN IN BLACK: And then you will enter into the light, and your conscious mind will be torn from your body. You will be fused with it. And you will be trapped on this island. – Your only hope of escape will be turning the light off. – But I’m sure Theodor won’t want it destroyed.

 

Diya then thinks for a moment, understanding that the mysterious man is basing this information on his own experience. And she suggests:

 

DIYA: Why not turn off the light and then back on again?

 

And he shakes his head.

 

MAN IN BLACK: You’re bound to the light any time it’s on.

 

And so she asks the next obvious question:

 

DIYA: So how did you get to this island?

 

And he clarifies, looking back at the glowing water:

 

MAN IN BLACK: I can go only go where the light is particularly strong… It all leads back to the same source.

 

He then pauses, while she stands there thinking. And then he says:

 

MAN IN BLACK: So if I tell you what you need to know, I need your help.

 

He turns back to her, as she wonders what she could possibly help with.

 

MAN IN BLACK: When I realized scientists were looking for a way to create another of my kind, I had a thought – maybe you can find a way to help cut me loose!

 

And Diya stands, thinking for a moment. And finally, she agrees:

 

DIYA: I’ll try… We have an experiment we’re working on with unpredictable results. It might help.

 

Then, her mind drifts to something else…

 

DIYA: What was it like… When you became this?

 

And he stands, as we see him deeply reminiscing, the anguish in his eyes. And he says, with some hesitation:

 

MAN IN BLACK: It was agonizing… And… I saw a vision of my mother.

 

We hear a few more soft notes of his theme, as he looks to Diya again. And she looks uncertain of what to think.

 

MAN IN BLACK: So after everything I’ve told you… Are you sure you wanna do this?

 

And we hold on Diya’s eyes again, as she looks deeply unsettled, and yet at the same time, deeply eager… We hear a few beats of her theme with escalate tensely, before we wooooooooosh away:

 

 

We are now in a corridor of Tin Man, following Diya, Miles, Walt, and Sawyer – as Miles halts them to a stop, and so everyone else does the same.

 

MILES: I’d rather only Diya come.

 

This comes as a surprise to Sawyer and Walt, unsure of his intentions. But they give slight nods of agreement. And Diya looks as though she already suspects what Miles wants.

 

In the next shot, we see the two of them emerging into the next room: it is the same room we saw Diya in during the previous flashback, with the channel of water at the end of the room. Only now, the water is murky green with bacteria and algae which we can presume is from lack of care over the years. And of course, this is also the same room where we have previously seen two bodies: one in a white lab coat and one in darker clothing, rested on either side of the room from the entrance.

 

And now that they’re here, Miles turns to Diya, needing to know the truth.

 

MILES: When I heard my dad’s thoughts last time, I saw you… You were with him when he died…

 

And she understands what he seems to be accusing or asking. This music beats with a few dark notes of suspense. And she is sincere:

 

DIYA: No, Miles. I was with him, but I did not kill him.

 

And Miles, though wanting to take her at her word, is nonetheless unsure. And she then confesses:

 

DIYA: Pierre was the only person left I trusted.

 

The music then beats more softly. This takes Miles by surprise. And we hold on him for a moment, before he finally turns towards Dr. Chang’s body. And he looks down upon it.

 

MILES: I can only get their last memories. I didn’t see anything about Tin Man before… But I’m gonna try harder…

 

And he then places his hand near the head of his father’s body. His mediumship theme (0:55 – 1:01) plays briefly, and it is a variation that seems more severe or urgent. We hear a few eerie sound effects with quick shots of Miles’ eyes clenched closed as he listens. We hear a splice of some vague audio, maybe something that unintelligibly sounds like Diya’s voice or a monstrous roar or gunfire.

 

And finally, the music abruptly stops – and Miles opens his eyes, pulling away. And with a sigh, he shakes his head, while we register Diya’s reaction behind him, realizing he couldn’t get any more of a read. The information is too far back to receive.

 

And he quickly starts to turn to leave, as she almost starts to turn also – but Miles stops again. And he glances at her, before looking at the other skeleton on the other side of the room, the one in dark clothing. And he reveals:

 

MILES: I know what you saw… When you went in.

 

She is not surprised, but just looks a flash of poignantly reminiscent in her eyes. And we hold on her face for a moment, before we again wooooooooosh:

 

 

We are now in another room of the Tin Man, the large wide room with a circular hole in the middle, fencing surrounding it, and other equipment scattered throughout the room. The room is full of several spectators, including among them Theodor, Belle, an unknown man close next to her who may be a romantic partner, Dr. Chang, and of course Diya. Up ahead, a glowing light is emitting up from the pit. 

 

Theodor is in lighter clothes as usual, while Diya is in darker clothing. And Theodor has a look of strong determination in his eyes.

 

THEODOR: Everything is set, the program is running.

 

The music beats suspensefully, and Diya nods. She then looks to the apparatus ahead, her eyes now burning with determination and ambition. She begins heading forward, the music beating suspensefully.

 

And among all the anticipating spectators, we can see Dr. Chang, who in contrast holds conflict and discomfort to what he is witnessing.

 

She walks up some steps that have been situated at the fencing, leading up to a short board hanging over the pit. The music beating more suspensefully. And then –

 

DR. CHANG: Wait!

 

Diya hesitates, turning back to face him, as he takes a few steps closer, an urgent look on his face.

 

DR. CHANG: It’s not too late to turn back, Diya!

 

This gets surprised reactions from other spectators in the room, and a look of puzzlement from Theodor.

 

But she just smiles smally and shakes her head a little, her mind having already been made. And she turns back, stepping onto the “diving board”.

 

And we hear a very dark, dramatic variation of Diya’s theme, blaring with a tone of tragedy, as Diya stands misguided in her path, looking down into the pit below.

 

We see what she is staring down at in the pit: there is glowing, swirling pool of light, making ticking sounds in its sparking, resembling the sound of a monster. The music blares into something haunting yet almost majestic – but maybe evoking more of a technological quality.

 

And then, after a tense pause –

 

We see her feet step off the board –

 

…And she falls, the music suddenly silent, and we still see her falling, until –

 

 – Glowing light, electrical sounds, absorbing Diya, absorbing the screen!

 

 – And the screen is bright white for a moment –

 

And then, two figures begin to emerge from the brightness: a man and a woman. Both of them are of Indian ethnicity. The woman (who looks to be in about her 30’s, wearing a green saree, and having a red dot on her forehead), we do not recognize. But the man (older, wearing farming clothing), we do know: it is Diya’s father, Pankaja.

 

And we can see Diya in the bright environment also. She is in shock as she recognizes both of them, though has not seen either of them in years, not her father since before coming to Island 2 some 17 years ago, and not her mother since she was a child. There is a very soft, ambient sound in the scene.

 

DIYA: पिताजी? …मां?/pitajee? …maan? [Father? …Mother?]

 

The bright environment around them seems to be gradually fading into a green scenery of nature, grass and trees. We can’t tell if this vision is in some way real or not. But it certainly seems overwhelmingly real for Diya. The music beats softly.

 

And her father has an unusually kind appearance on his face, though maybe masking some regret still. And he asks, in deep fatherly concern:

 

PANKAJA: दीया, आपने खुद से ऐसा क्यों किया है?/deeya, aapane khud se aisa kyon kiya hai? [Diya, why have you done this to yourself?]

 

And Diya is reluctant to answer. And yet, she feels she owes an answer to them. And she tries to explain her ambition:

 

DIYA: यह मेरे जीवन का सारा काम है। … यह वह जगह है जहाँ मैं नेतृत्व किया गया है।/yah mere jeevan ka saara kaam hai. …yah vah jagah hai jahaan main netrtv kiya gaya hai. [This is all my life’s work. …It’s where I’ve been led.]

 

Diya’s mother and father both bear looks of deep concern for her. And he smiles again, as the right words to say have sprung upon him.

 

PANKAJA: आपने जो काम पूरा किया है, वह अद्भुत है।. लेकिन कृपया जीवन का त्याग न करें। यह आत्मा को विकीर्ण करता है।/aapane jo kaam poora kiya hai, vah adbhut hai. lekin krpaya jeevan ka tyaag na karen. yah aatma ko vikeern karata hai. [The work you’ve done is amazing. But please do not sacrifice life. It radiates the soul.]

 

And the music escalates as we see Diya again, as she is almost in tears now, tears of regret and of gratitude. The music is a variation of her theme, (which, as we have heard in previous episodes, entails some mix of Classical Indian Music with hints of sorrow.) In this moment, the music is particularly heavy, deep with sorrow and yet brightness at the same time.

 

And Diya almost leans in, opening her arms, to embrace her parents – but she quickly catches herself, restraining back on these affections. She feels she is too far gone from them.

 

And still tears in her eyes, she looks from one to the other, and says with deep pain, pain as she feels herself tearing apart:

 

DIYA: मुझे माफ कर दो। …मैं तोड़ रहा हूँ।/mujhe maaph kar do. …main tod raha hoon.. [Forgive me. …I’m breaking.]

 

And both her mother and father simply give warm, glowing smiles of reassurance. And lastly, her father says, somewhat cryptically:

 

PANKAJA: आपको और काम करने हैं।/aapako aur kaam karane hain. [You have more work to do.]

 

And we hold one last shot on Diya, with tears in her eyes still, the music starting to trail into something more ominous, as we then hear the familiar sound of a mechanical, ticking groan – and the shot of Diya seems to vibrate and blur, almost into double.

 

– And then we dramatically jump with a MECHANICAL ROAR and TICKING, as we see things from a monstrous point of view – wisps of silvery smoke flaring in front of our screen, as we are now emerged above the electromagnetic pit again, staring down at the amazed or horrified SAMSARA spectators, hovering slowly down toward them with a LOW GRUMBLING!

 

And we cut to black.

 

 

[Commercial Break]

 

 

Walt is standing in a room with Tin Man, his fist at his chin as he is pondering options. Standing and sitting with him in the deliberation are the ghosts of Jack and Locke. And an idea has dawned on Walt, as he looks to the two of them.

 

WALT: You guys think you could find the ghost of Miles’ dad?

 

Jack looks to Locke, surprised that this bright idea hadn’t already occurred to the two of them, as Locke glances back. And then Jack looks back to Walt, nodding.

 

JACK: We can try… And I know where to look.

 

Locke gives another glance up to Jack, a puzzled one, though perhaps he knows to what he is referring. And we cut elsewhere –

 

In the next shot, Miles is entering into the computer room. The computer is on still.

 

And he sits intently into the vacant seat, pulling up to the computer. Something seems to be on his mind, something suspicious to him. A variation of his theme beats suspensefully. And he needs to know –

 

Fiddling with the mouse and tapping the keys, he pulls up the chat screen, with the logs of previous conversations popping on the screen. But he doesn’t pay them much attention, as he quickly gets to typing, and we see what he submits:

 

YOU: Is this Pierre Chang?

 

And Miles’ theme beats more softly, as we hold on his urgent, expectant eyes. This idea is something crazy that just occurred to him. But he has to know. And then –

 

INITIATOR: I’m sorry, Miles, but no, I’m not Pierre Chang.

 

Miles lets a breath of disappointment out of his nose, as he spins right in his chair, looking down, as it begins to hit him that he is never going to find the closure he came here for. The music beats softly into a quiet. And we cut away again –

 

We are now with Diya again, standing in her dirtied white shirt at the fencing around the electromagnetic pit, the same one from which she was reborn as a monster. Resting on the floor is Kate’s deactivated bomb. And Diya is looking down into the pit. The golden glow is now gone after all these years, and there is only the gross bacterial water that has developed in its absence.

 

And as we see her staring down, her eyes full of reminiscence, we again wooooooooosh off:

 

Diya is in her familiar white clothing now in this flashback. She is in a long room in the hospital at Island 2, and lying in each of the beds are several SAMSARA members. However, they all appear to be awake, though somewhat despondent. Belle’s husband is one of them, as she stands next to his bedside. And Dr. Horvath, who looks more than 15 years younger, is also walking through the room overseeing them.

 

Diya looks horrified or somewhat deadened in her eyes as she looks upon them. Standing near her is Theodor, looking on the patients with concern. He too is wearing lighter clothing. The music is softly somber, dark, and ominous, in some variation of Diya’s Theme.

 

And still staring at the patients, she explains in a dark voice:

 

DIYA: I don’t know why… I didn’t mean to…

 

And Theodor says:

 

THEODOR: You went through an unstable transformation.

 

And this doesn’t bring any comfort to Diya, knowing she lost control. But, at least there was one positive aspect amid the horror:

 

DIYA: I almost murdered them… But somehow, I was able to hold onto them.

 

And we get another, closer shot on Belle and her husband. Her husband is looking down, almost dead-eyed. The music quietly rings with eeriness.

 

And, on Diya again, as she is confused and distressed, not sure how to explain:

 

DIYA: But… I think I’ve changed them.

 

And Theodor, looking to Diya, says in an uplifting voice:

 

THEODOR: Learn to forgive yourself, Diya.

 

And he seems to genuinely mean it. This almost seems to ease her a little. But then she thinks –

 

DIYA: I almost killed you.

 

And he remarks:

 

THEODOR: You wouldn’t have been able to… I set the program so you couldn’t harm me.

 

And she turns to him, realizing –

 

DIYA: Then we need to set it so I can’t harm anyone else.

 

But he sighs. And he is not entirely sure what to tell her.

 

THEODOR: We can’t now. Ever since you came out… Ask Dr. Chang.

 

She looks confused by this. And she slowly glances back at the patients again.

 

In the next shot, we are back in the Tin Man, in the room with the valve of electromagnetic water again. Diya is at the edge of the water pulling a body out.

 

It’s her own body! An identical double, except wearing dark clothes. Her original body’s eyes closed, dead, laying on the ground soaking. Diya, now in the white clothing of her monster manifestation, looks down at her own body.

 

And she breaks into some tears, at the horror of realizing what she has done, not only to others, but to herself. And also what she could be capable of doing. The music darkly reflects Diya’s theme and has almost a quality to it like it’s breaking.

 

DR. CHANG: Diya…

 

And she turns to see him standing at the entrance to the room. He looks concerned, not in his usual frustrated air, but rather in a mood of sympathy. And then he reveals something unexpected to her:

 

DR. CHANG: The network has… gained a consciousness.

 

And Diya blinks her teary eyes, bewildered. This was not something she expected to hear. We hear a few notes of the Tin Man’s mysterious theme. And the lights in the room seem to flicker a little, the two of them noticing, almost in a lively manner, as though the station itself is doing it.

 

And then Pierre looks back to her, giving a small shrug.

 

DR. CHANG: It blocked some of the others from carrying Theodor’s new orders.

 

DIYA: What orders?

 

And Dr. Chang pauses, his mouth open as he is uncomfortable to say, a dark look in his eyes, and then he reveals:

 

DR. CHANG: After your incident, Theodor ordered the pit to be prepped for more experiments. …But we were not able to.

 

And before Dr. Chang states his last line, the camera is back on Diya, up close on her face, a haunted worry dawning into her eyes. Why would Theodor want that, after what just happened? And lights flickering on her again, we wooooooooosh back to:

 

 

And we are once again back with Diya in her dirtied white shirt as she stares down the pit from the fencing, thinking about how it changed her so long ago. And joining next to her is Walt. And Diya, her thoughts still full of memory, we see a flicker of pain reemerging in her eyes.

 

And Walt notices her expression, and he then looks down into the pit, seeing the bacterial water deep down. And there is a darkly soft note, as he suspects the significance of this place.

 

She turns to look at him, changing the tone with a smile:

 

DIYA: You did a wonderful job saving Hurley.

 

Walt smiles, but shakes his head a little. In his mind, it was only due to the guidance from a ghost.

 

WALT: Couldn’t have done it without my gift.

 

And she nods, and remarks:

 

DIYA: You’re honing it.

 

Walt has half a smile, but looks uncertain of himself.

 

WALT: I wonder what my life would be like without it.

 

And we hear a few soft notes of Walt’s theme to this. We also see Diya registering his uncertainty. And she begins to wonder – is this really right for him? But she doesn’t voice it.

 

And then, something else emerging to his mind, he slowly starts to ask:

 

WALT: A few nights ago, when you scanned us all in your smoke form…

 

And Diya listens as he asks, his voice shaking and troubled, not sure he’s ready for the answer, but needing to hear it nonetheless:

 

WALT: Did you know Ben was going to…

 

And he can’t bring himself to finish the sentence. He’s still in a shock that Ben shot Hurley.

 

And Diya shakes her head slightly.

 

DIYA: I didn’t get to see much… But I know he felt conflicted about Hurley’s plan.

 

And we get one last shot on Walt’s expression, before we cut away –

 

And our next shot is on Ben now, his face weighted with a heavy burden as he walks through the dank corridors of the Garden station alongside Theodor who is hobbling through with his crutches.

 

And up ahead, coming in her graying blonde hair, is Belle, or as Ben knew her, Annie. And she looks pleased to see both of them are back. Her attention first to Theodor:

 

BELLE: How did it go?

 

But Theodor just shakes his head as he keeps hobbling through.

 

And Belle has a flash of disappointment as Theodor keeps going, but then she turns to face Ben. And she then suddenly embraces Ben. And there is a soft note of Ben’s theme to this.

 

BELLE: I’ve missed you for so long.

 

But Ben looks uncomfortable. His mind is still on recent events. And she can notice. She pulls back to face him.

 

BELLE: What’s wrong?

 

And Ben, looking sickly with guilt, breaks out the truth:

 

BEN: I shot a man. And I don’t know if he’s alive.

 

The music beats a darker tone of Ben’s theme. And Belle looks surprised and confused. And then her gaze turns, just over Ben’s shoulder. She starts to look more startled.

 

And with a few haunting notes, we see behind Ben, standing is the ghost of the Man in Black, and Ben is in the foreground noticing her expression, wondering for a moment if it’s a reaction to what he just said, before realizing – and turning around to look and see.

 

And with a confident calm, the man says:

 

LOCKE IN BLACK: Hello again, Annabelle… I’ve thought of one last way to get Diya.

 

And we register Belle’s reaction as she receives what he just said, while Ben stands next to her, looking back to her confused as he is unable to see the ghost. And the music hums suspensefully to a stop.

 

 

[Commercial Break]

 

 

We see Diya wandering through the grass in a clean white shirt, as her attention is drawn to a mechanical drilling sound. And ahead, we see some workers digging with tools and machinery, and we see scattered across the ground are parts, including a couple of fully-built lightposts.

 

DIYA: What’s this?

 

And Foster, who is overseeing the work, turns and replies to her, though he seems somewhat hesitant to say:

 

FOSTER: It’s a test perimeter to limit where our security systems can go.

 

And Diya looks taken aback by this, not previously aware. And Foster nods slowly, still uncomfortable telling her.

 

FOSTER: Theodor wanted to make sure the program was still working.

 

And Diya looks uncomfortable in her eyes also at this move, the prospect that Theodor could be trying to control her?

 

FOSTER: He’s been really tightening security – hired mercenaries too.

 

And Diya looks surprised by this also. And we cut away –

 

In the next shot, we see later Diya approaching the wharf on another islet. The boat is docked here again, and emerging are several familiar tough-looking men we recognize (and some unknown), including Garrow, except all of them younger. They are joining Theodor, who is now dressed in dark clothes, as he greets them.

 

We again see the look of concern in Diya’s eyes at the direction Theodor is taking. We cut away again –

 

Diya is now in a hospital room again, with many of the same people we saw she had “changed” in the previous flashback, including Belle’s husband. She is standing before them, speaking to them, as they are drawn to listen intently. There is a soft, eerie tone of music.

 

DIYA: -And since you were the victims, I’ll need your support.

 

And as she is telling them, suddenly Belle is walking into the room – and she looks concerned for the effect Diya could have on them.

 

BELLE: You don’t need to be here!

 

Diya faces her as she walks coldly past to her husband, and Diya starts to walk out of the room intently, while Belle goes to console her sick husband. Though he still seems to have his dead-eyed attention in Diya’s direction as she leaves. And we cut away once more –

 

We are back outside again sometime later, as it’s starting to get a little dusky. The white-clothed Diya stands with the dark-clothed Theodor in the midst of the compound, confrontationally. Dr. Chang, Belle, Akamu, and Horvath are all here as well.

 

THEODOR: -Diya, the power of this island is in our control, and we’ve proven now the miracles we can do.

 

He looks enthusiastic and persuasive as he motions his hand at her a little, noting her as the proof of his new ambition. And she fires back:

 

DIYA: We’ve done sorcery! Look at how many are sick now.

 

The tone of her second sentence is a little softer, more pleading. But we can see in the eyes of most of the others – they are not seeing this her way. Belle, Akamu, and Horvath, are standing with Theodor.

 

BELLE: How else will we find cures for sickness – for cancer??

 

They nod to each other, as we especially see Theodor nodding that they have the right idea, while the music hums a little darkly. But we do not see their sentiments reflected in Chang’s eyes.

 

AKAMU: There’s a lot of support for these initiatives. We’re going through with them.

 

Diya tries to plead one last time:

 

DIYA: If you keep grabbing for power, it could destroy us-

 

THEODOR: -That’s enough! It’s settled.

 

And with a low dun, he turns and leaves, as the others start to walk away from her as well – except Chang. We can see in his eyes that he believes Diya is right.

 

And then suddenly – A VIOLENT SHAKING AROUND THEM, THE ISLAND BEGINS TO QUAKE!

 

Diya and Dr. Chang are thrown to the ground as ominous music builds up, and we can see in the distance Theodor, Belle, Akamu, and Horvath have also fallen among the quaking! Everyone looks thunderstruck in their eyes!

 

And a BRIGHT FLASH OF LIGHT ERUPTS from the distance! (A more southwestern direction of Island 2. With the sound of a LOUD ELECTRIC WHISTLING (1:29 – 1:33), the BLINDING BURST OF LIGHT ENVELOPS THEM ALL!

 

And then it fades even more suddenly than it appeared, the Island calm again. We see quick glimpses of Diya, Dr. Chang, Belle, Akamu, Horvath, and Theodor each as they scramble to pick themselves up, each looking startled, befuddled, and mystified.

 

And the camera then closes in on Diya, with Dr. Chang standing behind her, a pondering look in his eyes, as we see the dramatic realization in Diya that something big has just happened to them all. And we wooooooooosh away:

 

 

We are at the computer screen again, with the previous chat lines visible (YOU: Is this Pierre Chang? and INITIATOR: I’m sorry, Miles, but no, I’m not Pierre Chang.) And Diya’s hands are at the keyboard now as she types.

 

And we see her anxious eyes as she stares at the screen, some low suspenseful music playing, reminiscent of her theme as well as the Tin Man theme. And with the hit of the enter key, we see:

 

YOU: I think for years I have realized who you are, but I have been afraid to face you. But now I need you. We both want to protect this island.

 

And there is a pause with a suspenseful note of Diya’s theme and Tin Man’s theme, and – nothing. No response.

 

And then, with a glint more of dejection in her eyes, she types further:

 

YOU: You flashed this island from the outside world and blocked our access to its power. Please tell me how to reverse that. You can trust me, as Dr. Chang did.

 

And after a couple of seconds of further suspense, a response finally appears:

 

INITIATOR: I will never trust you. You are the cause of everything corrupt here. The only one who had peaceful intent was Dr. Chang.

 

And we hold one last glance on Diya, as she looks down darkly. And then –

 

— With the sound of a quick bong, we now see the first Island, green, lively, daylight.

 

And we are now in the midst of vibrant green jungle, lush and damp, wildlife chirping all around in its bright majesty. The spirits of Jack and Locke are standing and sitting here now, as they are approached by Harper Stanhope, who was murdered last we saw her. And she faces Jack and Locke with a dutiful composure.

 

HARPER: I’ve spoken to the Guide. The man you’re looking for stepped ahead from this world a long time ago.

 

Jack nods, a bit disappointed at this answer.

 

JACK: Thank you. We need to get back.

 

Harper then glances to John.

 

HARPER: Anything to help our leader.

 

And Locke looks uncomfortable – knowing the implication of who she’s actually referring to. And he says sharply:

 

LOCKE: I’m not your leader. Hugo is.

 

And Harper almost gives a nod, as though accepting his comment, though not entirely agreeing with it –

 

And in the next shot, she’s gone. It’s just Jack and Locke, as the former turns down to face the latter who still looks bothered as ever.

 

And we see Locke’s profile as he sits in his wheelchair, looking down troubled, Jack standing behind him, almost about to speak. And Locke can tell he’s about to press it, so he just decides to tell him:

 

LOCKE: That man – in black – came to me, told me I was his weaker half. I was no good.

 

Locke doesn’t feel like divulging all of the insults he received, and just abbreviates it to that. Jack starts to shake his head, and Locke continues:

 

LOCKE: I know he was lying. But he’s right, I can’t do anything.

 

And we hear a soft, faint mix of Locke’s mysterious and tragic themes. And still shaking his head, Jack divulges:

 

JACK: He came to me, told me I was no good too. I dunno what he’s up to, but we can’t let him manipulate us.

 

And then Jack adds, in an earnest and reassuring tone:

 

JACK: And John… Hugo is leader because I talked him into it. But you’re the one who talked me.

 

And Locke’s soft music turns a shade brighter, maybe with a suggestion of notes from Jack’s theme. And Locke’s face lifts slightly.

 

JACK: If you had lived, it would have been you.

 

And Locke’s mysterious theme becomes a little more invigorated. But Locke still is hesitant to accept Jack’s belief. And he just smiles – and thinks of a way to put it back on Jack:

 

LOCKE: And yet, you’re the one who helped Walt save Hugo’s life.

 

And Jack just smiles a little, though he doesn’t take this as a proof of his own leadership:

 

JACK: I’m just glad I got to work with the Island as a healer.

 

And we hold one more shot on Jack and Locke, both with amicable expressions, as we cut away –

 

Our shot is now on Rose as she holds Bernard’s ring in her hand, the ring attached to a chain around her neck, as she smiles with a mix of peace and mourning. We can hear the calm brushes of the ocean in the background.

 

We now see a wider view as she stands at Bernard’s grave, a wooden cross erected from it. Vincent is also by her side, panting. And they are not alone – Desmond, Penny, Cindy, Aaron, Ji-Yeon, Charlie, and Tamar are visiting also.

 

CINDY: Is there anything I can get you?

 

But Rose just calmly shakes her head, still smiling.

 

ROSE: I’m fine.

 

And then – the ominous warning of whispers (0:00 – 0:06) catches Cindy’s attention as she looks to the jungle ahead.

 

And then we see, sitting along down the beach, Aaron is huddled and hunched over, his hands on his ears, looking very distressed.

 

TAMAR: What’s wrong?

 

As the adults start to move towards him, a frightened Ji-Yeon standing near points towards him.

 

JI-YEON: There’s a man!

 

And in the next shot, we see what she is seeing, shrouded in more shadowy cinematography, with dark music slamming frighteningly: the dark-clothed image of Locke, bent over at Aaron with rage flaming darkly from his eyes as he has an aggressive hold on Aaron, speaking closely to his covered ear.

 

LOCKE IN BLACK: You have to kill everyone. Unless…

 

And the Man in Black begins to whisper something we can’t hear.

 

– And suddenly, Ji-Yeon grabs Aaron by the arm – and the music breaks as Aaron’s attention turns to her – and the Man in Black is suddenly pushed back from his hold of Aaron.

 

Looking surprised and angrily to her, he starts to reach to her aggressively.

 

LOCKE IN BLACK: If you don’t wanna go the way your parents-

 

But Ji-Yeon, indignant in her expression, strikes her hand forth at the dark spirit.

 

And again, the Man in Black is knocked back, stumbling with an aaargh!, the shadowy cinematography seeming to illuminate a little.

 

And the Man in Black is stunned – holding his hand up, it looks like it’s been burned red, as he glances down at it, and then shifts his dark gaze back to her. The music harps with eerie realization (1:13 – 1:16).

 

And we have one quick shot on Ji-Yeon as she still holds onto Aaron, a soft variation of Sun and Jin’s theme starting that sounds a mix of light yet ominous. The adults surrounding them. All seem oblivious except Ji-Yeon, even Aaron can’t see.

 

And we have one last shot on the Man in Black, his hand now fine again, as he looks a mix of startled yet impressed.

 

LOCKE IN BLACK: You have quite a gift.

 

And in the next shot – he’s gone. Only Ji-Yeon, Aaron, and the adults surrounding them, the beach scenery looking bright again. And we cut to black.

 

 

[Commercial Break]

 

 

In our next shot, we’re back at the old hospital, the environment of Island 2 looking dreary as usual. The van is now parked outside – our group is back.

 

On top of the roof of the building, Diya is standing, watching out, with Walt joined alongside her. Ahead, we can see two of the other islets from this view – with their forestry in sight.

 

WALT: What’d you do here all these years?

 

Reminiscing with some pain, Diya replies:

 

DIYA: I decided I’d do what my father would have done: regrowing nature, tending to it.

 

In the back, Claire is opening the door up to the roof. And Walt nods to Diya’s statement, and then wonders:

 

WALT: What about your mom?

 

And with another hint of sad reflection, Diya adds:

 

DIYA: When I was small, she got sick with a blood disorder.

 

There is a soft touch of music to this, as Walt empathizes. That’s how his mom died too.

 

And Claire has now reached them, holding a walkie-talkie to Walt.

 

CLAIRE: We’re going to the other station to talk to our people. – Found these.

 

Walt takes the walkie-talkie. And Claire is facing Diya, with an amicable expression. She looks more courageous now than she has in the past with smoke monsters.

 

CLAIRE: Thank you, for helping us, Diya.

 

Diya smiles and nods. And then Claire adds, in a positive tone –

 

CLAIRE: I noticed you haven’t tried to… influence us. You’re kinder than the other Monster.

 

Diya keeps an amicable expression, though there is a haunted glint in her eyes, and a haunting yet soft beat.

 

DIYA: Too many have suffered sickness.

 

Claire is amicable still, and then turns around to leave. Diya and Walt turn back to look out across the landscape. And we cut away –

 

We are now back in a dank, dim corridor of the underwater station, as we follow the Man in Black walking through it, a variation of his Fake Locke theme (1:13 – 1:46) playing as he arrives upon a room: in which Ben and Belle are seated together, while Theodor rests on another chair near by with his crutches leaned aside.

 

Ben is trying to smile, though we can still see some haunting pain veiled behind his face. He says to Belle:

 

BEN: When did you get here?

 

Belle has also been smiling in return. And to his question, she replies:

 

BELLE: We knew since I was a kid that I had a gift. But we left DHARMA because of the Hostiles. …Years later, I was invited to join here.

 

She looks to Theodor. And he smiles.

 

THEODOR: She quickly became my closest friend here.

 

And she adds:

 

BELLE: Theodor was the only one who cared.

 

Ben smiles to her still.

 

BEN: I care about you, Annie. If I had known y- … I used to talk to my dead mother.

 

Her smile becomes wider.

 

BELLE: Maybe that’s why we’re both meant to be advisors to this island’s protector.

 

Ben thinks for a moment – he was already an advisor to a different protector. But he doesn’t verbalize this, and instead asks:

 

BEN: You’ve been down here all this time?

 

Belle nods, with almost a look of disgust as she looks around at the infrastructure of the room.

 

BELLE: We had to take refuge down here, and kept doing what little work we could.

 

And then with a pause, she adds:

 

BELLE: Diya turned half of us into militant zealots, including my husband. Only we survived.

 

And as she says that, there are a few dark notes reminiscent of Ben’s “Dharmacide” theme. Ben reminisces darkly, as he too, had sided with the “militant zealots” of his own island.

 

BEN: Something similar happened on the first Island. But it was the scientists who died.

 

Belle smiles thankfully and takes hold of his hand.

 

BELLE: At least they spared you.

 

Ben looks a touch uncomfortable in his eyes, as there is a low hum of music again. We also get a glance at Theodor – we can see that he also knows the truth.

 

And then there is a snicker near Belle – causing her to turn her attention, letting go of Ben. But Ben doesn’t seem to notice who’s there: the dark-clothed Locke, bearing a scoffing expression. He knows the truth about Ben, too. But he doesn’t feel the need to say.

 

Belle turns to Theodor again:

 

BELLE: My contact is back. I think it’s time.

 

Theodor nods.

 

THEODOR: Then gather everyone.

 

BELLE: Shouldn’t Foster or Garrow do that?

 

THEODOR: Garrow is still retrieving the item. And Foster – turned on us.

 

Theodor is reluctant to deliver the second piece of information.

 

Belle looks shocked, with a dark beat of music. And she can only ask, expectantly:

 

BELLE: Did you kill him?

 

And there is another dark beat of music, almost reminiscent of Theodor’s theme. And he just slowly nods.

 

And we have another shot on Belle’s stunned expression again, as we can hear Theodor stepping up with his crutches. And then a dark-sleeved hand reaches down to her hand.

 

And she turns and looks, as we see the the Man in Black touching at her hand for a moment, before lifting his hand back up. And over his shoulder we see as he holds it before him, and we glance down upon it with him. The hand is unaffected. And Belle looks a little startled – her expression conveying to ask him what he’s doing.

 

And he looks off darkly, putting his hand back to his side, shaking his head as though to say “Nothing”. The music makes a low, haunting whine as we still see his dark expression. And we cut away –

 

Our next shot is of the Locomotive station, the first time we’ve seen it again in several episodes. Just as before, it looks busted and broken out in the front, with rubble and debris scattered around, and old pieces of furniture and other items lying about like junk, visible to the outdoors. In the shot, we also see the survivors’ SAMSARA van is now parked near the front.

 

And then in the next shot thereafter, we’re deeper inside the station, now back in the room with the old 90’s computers, and the panel of switches, with a couple of screens. Miles, Kate, and Claire are in this room now. And they have turned on one of the screens: Cindy is visible on it.

 

CINDY: Bernard died last night.

 

The three of them are shocked and upset by the revelation.

 

KATE: What happened?

 

And Cindy isn’t sure how to put it – the mundane manner he was injured and infected hunting for boar. So she simply sums it up figuratively:

 

CINDY: The Island took his life.

 

The three still look saddened and shocked.

 

CLAIRE: That must be so hard for Rose.

 

And Kate, with some hesitation to reveal the details, then tells her:

 

KATE: Hurley almost died. But he’s gonna make it. It’s a miracle.

 

And with that, we cut away real quick – our shot now in the hospital room. Hurley laying asleep in his bed as the equipment hooked up to him still beeps calmly. Diya and Sawyer are in the room, keeping watch, while Jack and Locke are facing Walt to tell him.

 

And we get a quick glance on Diya as she holds the walkie-talkie. She can tell Walt is speaking to someone now.

 

And we cut back quickly to the computer room of the Locomotive station. Another walkie-talkie, one in Miles’ hand, beeps.

 

DIYA: (over walkie) Miles, Walt’s contact says your father has left this world.

 

Miles sighs, holding up the walkie to his mouth, and he clicks it. And sarcastically, he says:

 

MILES: Not surprised, he’s rarely been around when I need him.

 

And then we cut back to Diya in the hospital. She feels she should tell him –

 

DIYA: Miles, your father knew you were special, he cared for you. But he was giving his life here to protect us all.

 

Back with Miles in the Locomotive – he just shakes his head, still in some disbelief. And we hear a few notes of Miles’ theme.

 

MILES: I didn’t… hear anything about my mother or me in his dying thoughts.

 

DIYA: (over walkie) He didn’t have time to think.

 

On the screen, Desmond emerges, seeming to take an interest in Miles’ conversation.

 

DESMOND: Oi, what’s that about your father leaving this world?

 

And we cut to the room he is in, on the other island. We’re now in a station we recognize as the Egress, which is another we have not visited for several episodes. It looks more clean, orderly, and bright inside. Cindy and Desmond are standing at a panel with several 80’s computers and a couple of screens, one of which Miles, Kate, and Claire are visible on. Behind the panel is a wall with a long window across it showing a light glowing up from a cavern.

 

Tamar, Penny, Charlie, Aaron, and Ji-Yeon are also in the room, sitting across some furniture. Aaron looks calmer now, as he sits with Ji-Yeon. We can hear some mumbling from Miles on the screen in the background, before our view returns to Desmond listening to him at the screen –

 

MILES: …he was the only one with that info we need to turn Tin Man. But he’s dead and gone.

 

Desmond nods, a twinkle of mysticism growing in his eye and smile, and a soft beat of music that seems to reflect that also.

 

DESMOND: I may have an idea. I’ll get back to ya.

 

Desmond walks from the screen, and we see a quick shot on Penny and Charlie’s reactions each.

 

Aaron suddenly walks up to the screen, and Ji-Yeon accompanies him. And he reveals quickly and urgently, with low, dark beats of music:

 

AARON: Mom, I heard the voices again. And this time they told me-

 

And we cut to a shot of Diya in the hospital again, as she holds the walkie, hearing what’s being said.

 

AARON: (through walkie) -that I’d have to hurt everyone unless someone named Diya helped me.

 

And Diya looks struck and shocked by this, still holding the walkie.

 

And we cut back to the Egress, with Aaron and Ji-Yeon as they stand at the screen. But Aaron’s expression turns brighter.

 

AARON: But, Ji-Yeon helped me. She stopped it.

 

Ji-Yeon looks down a bit shyly. A bright variation of Sun and Jin’s theme starts to play.

 

On the screen, Claire smiles hopefully. And a bright variation of Claire’s theme starts to mix in as well. And she relates from the vision she experienced in the pool a few days ago:

 

CLAIRE: That’s good. The darkness tries to play on our fears. But we need to hold on to the ones who are special to us. The light they bring. That’s how we move past it. I learned that here.

 

As Claire says this, we also see a shot on Aaron as he smiles, listening to his mother, while Ji-Yeon stands beside him.

 

And Claire says, with tears in her eyes:

 

CLAIRE: I’m sorry I left you again. I was afraid I was the one hurting you. But now I know we need each other to get through this. I’ll be back soon.

 

And Kate, who is beside her, also comes closer to the screen, looking strong and sincere, with tears in her eyes, as she smiles and says:

 

KATE: Aaron, I promise, I’m going to get you back with your mom. I always have, and I always will.

 

And Aaron, still smiling, nods, looking brighter than we’ve seen him all season.

 

AARON: I believe you.

 

Near by, we see Desmond standing by Penny and Charlie, the music softening into something more mysterious. Desmond has a big smile appearing over his face, almost into a chuckle, as he is deep in thought.

 

DESMOND: Ah’ve figured out how we can help ‘em.

 

He starts to turn, glancing to the two of them.

 

DESMOND: C’mon, we need to go to Hydra Island right away.

 

And as he walks, we see the baffled expressions of Penny and Charlie.

 

We cut back to Diya in the hospital, still holding the walkie. And it suddenly beeps again, this time with an unexpected voice:

 

BELLE: (over walkie) Diya, I’m here with Theodor. This line only goes to your walkie, so the others can’t hear me.

 

She is taken aback by this. And holding the walkie to her mouth, she fidgets with the switches on the walkie, which we can presume is to secure her end of the line as well, before we again hear Belle’s voice from it:

 

BELLE: (over walkie) Our work with Claire proved a breakthrough. We think there’s a way to change you. And to give you the power to heal others.

 

We hold for a moment on Diya as she looks stunned, Walt standing near by looking concerned, and Sawyer looking perplexed.

 

In the next shot, Diya is hurrying down through the hallway, Walt trying to catch up, Sawyer waiting at the end of the hall.

 

WALT: Why are you going?!

 

She comes to a halt and turns to him. And she says slowly, with pained determination:

 

DIYA: Because I must. – And you can’t come.

 

But Walt is taken aback by this – and he’s adamant:

 

WALT: But I wanna help you. I’m supposed to.

 

And we hear a few soft notes of Walt’s theme, and Diya’s theme also. She smiles, and slowly places her hand on his cheek in a maternal manner.

 

DIYA: I studied gifted children my whole life, but I never realized – their gift isn’t what makes them special.

 

And we hold on Walt’s expression for a moment, before she continues:

 

DIYA: Thank you for your faith in me, Walter. You have helped me. But I can’t ask people to follow me any longer.

 

She lowers her hand from his cheek. And we see in her face, her earnestness, as she says:

 

DIYA: You’re still young. You can have a normal life. …Put all this behind you.

 

And we see Walt’s expression again. We can clearly see in his eyes, this doesn’t feel right to him. But he can also see this is what she earnestly wants. Hesitant, he finally nods in agreement, though almost in a frown, as we hear a few notes of the main Lost theme “credit where credit is due”.

 

WALT: Okay.

 

DIYA: Stay with Hurley.

 

And Walt nods again, slowly turning around. He slowly walks back down the hallway, as Sawyer motions his hand in a “come on” manner.

 

The music hums to a close. In the next shot, Diya is vanished from the hallway, Walt still slowly walking away. And we wooooooooosh off:

 

 

Some suspenseful music is beating as the camera pans down through some green woods, down to where Diya and Dr. Chang have rendezvoused.

 

DIYA: I’ve got people on our side now.

 

Pierre nods. And then he states:

 

DR. CHANG: I want to tell you how to reach Tin Man, but I don’t think it would trust me any longer.

 

She shakes her head, holding her hand up in a stop motion. She looks very uncomfortable.

 

DIYA: I don’t want to know.

 

Dr. Chang nods.

 

DIYA: They’ve labeled you ‘Asset E’ now. You need to be cautious.

 

He nods again. And then he presses his hands together, with a slight bow, and simply says:

 

DR. CHANG: Namaste. Good luck.

 

Diya returns the namaste gesture as well with her hands and a slight bow. And we then hold on Diya for a moment, before we cut away –

 

In the next shot, we see Theodor, standing outside in the open, his armed men alongside him, the mercenaries led by Garrow, as well as a lot of the security force led by Foster. And we can see the frame of Diya’s figure as she steps into our camera’s view.

 

In the next shot, we get a clearer, overhead view of Diya: behind her, are dozens of other SAMSARA members, mostly dressed as scientists or other workers. There is a dark beat of music.

 

Our next shot is back on Theodor up close, as he stares them down, looking unflinching. And he calls out:

 

THEODOR: Diya, I ordered you here to tell us how disable Tin Man’s security program. Not to start a war.

 

And while Diya doesn’t know the answer to that, she is going to keep it to herself. And then Diya responds, calling back:

 

DIYA: We’re not starting one either. You’re the one with armed personnel.

 

We get a glance back on Theodor’s expression, as we further hear Diya call out:

 

DIYA: Your conquest for power is going to destroy everyone.

 

THEODOR: What evidence do you have of that?

 

And we look back on Diya – she looks strong with conviction.

 

DIYA: I’ve realized it through everything I have experienced since I became this.

 

And we see Theodor again – he has an answer of his own.

 

THEODOR: Diya, the only reason you want to protect this island is because you were designed by me to be a security system! – But you’re clearly malfunctioning!

 

And we have another shot on Diya, as she looks haunted by that prospect. But she is not going to let it deter her. She pleads:

 

DIYA: Theodor, please! Everyone with me supports my argument!

 

And we close in once more on Theodor’s face, as he is thinking what to say next. And we can’t tell if he’s almost going to agree or not – but he restrains himself from speaking further when he notices something, looking across the crowd.

 

We see Belle’s husband among the crowd, standing with his depressed, “sickly” look. And then we get more quick shots on others in the crowd – more of the victims from the hospital. But it doesn’t end there. More and more, we keep getting shots across the crowd – more and more people with that same sickly look than before. More quick shots of sickly people everywhere – until we start to realize…

 

THEODOR: Diya, did you make all those people sick?!?!

 

He looks stunned and horrified in a way we’ve never seen him before. The music reflects some dreadful horror (perhaps a variation of 0:52 – 1:02).

 

DIYA: We had to show you! The work here will only create more of this! – Though I’ve kept them quite sane – enough so to oppose this!

 

As she darkly says this, we see a few quick shots of her, as well as of various other of the infected with her. We also see quick shots on the disturbed expressions of Foster’s security group, as well as disgusted expressions from Garrow’s mercenaries.

 

And we have one more shot, silent, slowly closing in on Theodor’s horror-stricken expression. This clearly affects him more deeply than we might expect, something very dark and pained inside him. Something terrible.

 

And at last, he orders, with much pain and struggle in his voice:

 

THEODOR: Execute… Protocol 16.

 

And with that, Garrow’s men all each take a step forth from the other security personnel. And they raise their weapons, the sound of them all clicking ready.

 

And we close in on Diya’s own horrified expression, as she suddenly realizes – ! And before we can react to what’s happening –

 

A WAVE OF GUNFIRE BLAZES! 

 

DIYA: RUN!!!

 

All around her, BULLETS FLY PAST, and HER PEOPLE DROP TO THE GROUND!

 

And we have another shot on Theodor as he watches his order carried out, the flashes of gunfire reflecting in his eyes, while a heavily dramatic, dark and especially tragic variation of Theodor’s theme blares into the scene. (Which, as we’ve heard in previous episodes, is like a Giacchino homage of Schindler’s List)

 

We see a brief shot of Theodor’s forces, Garrow and the mercenaries all standing forth, their guns lighting with fire! Standing just behind them are Foster’s security force, all looking thunderstruck with shock at what is happening! We see a quick closeup on Foster’s shocked expression in particular, and also a quick closeup on Garrow’s unmoved expression as he carries out the order. Theodor’s dramatic theme continuing to blare!

 

And then another shot on Diya’s large ‘infected’ crowd, many of them falling forward dead as they’re pelted with bullets! And Diya herself being hit with bullets as well, though still standing! Many of the ‘infected’ also having turned to run on her command, though still bearing emotionally dead expressions as they run! Theodor’s theme still blaring!

 

And then we have another closeup on Diya, as tears of horror flow from her eyes amidst the storm of bullets! Theodor’s theme transitions into Diya’s theme, though a variation that similarly mirrors the tone of heavy drama, darkness, and tragedy! She is, for this moment, paralyzed with shock of Theodor’s order, and the awful realization of what she has to do next.

 

And then one last closeup on Theodor’s expression, the music sliding back into his theme, as he holds a cold face, one that seems to be trying to bury a horror, sorrow, or disgust inside him. The now cold, calculating, observant gaze we’ve come to see him use so often in the present, holding back overwhelming emotion behind his eyes as he hardens himself to the reality before him!

 

And then we see again what’s ahead – with a bright flash, there’s now suddenly a silvery cloud erupting into the air where Diya stood with a monstrous roar, concealing the fleeing people! Though the sound of her roar, her screech is a little obscured by the still-dramatic music blaring. She SURGES forward VIOLENTLY at the onslaught of bullets!

 

THEODOR: GET TO THE LIGHTS!

 

We barely hear Theodor’s order under the music as the mercenaries and security group scramble away in the terror of Diya’s sudden attack! She manages charge a couple of the men, throwing them back violently, and grabbing others in a sudden vicious SLAM onto the ground! These moments play out less like an action scene and more of a dramatic one, with the same tragic theme playing, quick shots on the terrified expressions of Theodor’s men as they scramble or are swept up!

 

And we see a few quick shots of a couple of cold-blooded mercenaries, maybe ones we haven’t seen in the present day, as they’ve swarmed around past the smoke monster and are resuming blazing their gunfire at the ‘infected’, before the silvery smoke sweeps them up as well! The scene fades slightly to dark, the music becoming more soft but heavily somber and tragic, before –

 

Fading back, now showing us the front of the Locomotive station, except its front is intact and the building looks in good condition! But not for long – we have very few seconds to process this as we see some of Theodor’s men scrambling to the front door, and the silvery smoke MONSTER CHARGING THROUGH LIKE A TRAIN, and BURSTING through the front of the station’s framework, as we cut to a black screen again with the sound of SMASHING, the sound of rubble and debris splattering! The music still soft but tragic.

 

And then screen fades in from black again. The camera-work slow paced and the music soft but hauntingly sorrowful in a variation of Diya’s theme now, maybe with some vocalization of a choir in the music. We can now see her in human form again, as she wanders through a site of devastation, looking down upon what she and Theodor have both wrought: bodies everywhere from both sides, but particularly the ones she had infected. Little fires burning in debris all over the place. These moments might remind us of the aftermath of the DHARMA Purge or the aftermath of the Temple massacre.

 

And we have one more shot on Diya’s expression as she stares around at the surrounding remains of the disaster, her expression reflecting the same devastation that she is seeing, as she takes in the horror of what has happened, what she has brought about, the very thing she had hoped to prevent, the deaths she is now responsible for. And the music transitions into a low beat as this slow sequence comes to an end. And we cut away –

 

And in the next shot, we are elsewhere as we see Dr. Chang ahead. He looks fearful, aware of the sound of destruction he has heard in the distance. He is standing within some of the patch of woods near the Tin Man station.

 

And then – Diya suddenly appears near by! With a look of horror, guilt, devastation that she is holding in – but also one of fear and urgency! He turns to face her as she approaches –

 

DIYA: Pierre, you have to hide! You’re in danger now! Theodor ordered the troops to kill all of us-

 

And as she gets to her second statement, we see Dr. Chang’s expression, one that’s shocked and darkened by what she is revealing.

 

But by the third statement – with the sound of a gunshot – a bullet flying into the side of his head ! – His face flings into a ghastly grimace as he drops to the ground!

 

And we get a quick shot at the clearing in the background as a gun-wielding troop scurries out of sight into another patch of woods in the distance, Diya looking stunned in that direction for a moment! And then she turns to face back down, quickly crouching to the body…

 

Pierre Chang lay there dead, his eyes shut, a wound in the side of his head, blood staining his gray hair. We hear a variation of Miles’ theme (2:07 – 2:27), one that sounds softly somber and tragic like the music we’ve been hearing for the past minute.

 

And Diya takes the body of her only friend and ally into her arms, her expression now virtually numb to the trauma of what’s happened. And she looks up ahead, her eyes almost deadened from the shock of what’s transpired.

 

And we see a quick shot on the Tin Man station ahead – and then a shot back on Diya, as she starts to slowly rise, lifting Pierre’s body up in her arms, as she has decided where to lay him to rest. And the music turns silent as we cut to black.

 

 

[Commercial Break]

 

 

A walkie lay on the ground, Belle’s voice transmitting through it as Diya’s hand reaches to pick it up off the ground.

 

BELLE: (over walkie) We turned off the security so you could come.

 

DIYA: I know.

 

And Diya says this with a dark air – and we see near, the ruins of several lightposts – which look like they’ve been torn out of the ground and smashed – evidently having been destroyed by her just now.

 

And she continues on – our camera faced at her as she walks across the ground, almost with a frustration or rage she’s carrying, the music beating some what darkly and intently. And then –

 

BEN: (over walkie) Diya — how is Hugo?

 

And she halts for a moment, our camera closing in on her expression – some of her old spite from many years ago flaring back into her eyes, as she speaks into the walkie –

 

DIYA: He’s dead.

 

And then we cut to Ben’s expression – his eyes widening into despair. He’s in a dank, dark room of the Garden, at the communicator in the computer room, while Theodor and Belle stand near him.

 

And then Belle turns and looks to dark-clothed Locke – who we suddenly see is standing next to her – and he gives a disconfirming headshake to her.

 

BELLE: She’s lying.

 

Ben’s expression starts to relax a little.

 

BEN: You don’t have to lie to me, Diya.

 

And then we cut back to her expression, still somewhat tense as she keeps walking.

 

DIYA: Why would I care what a murderer like you thinks?

 

BEN: (over walkie) Pot calling the kettle black? How long have you been killing people, Diya?

 

As she keeps walking, the flare in her eyes starts to diminish a little –

 

DIYA: Since I let my father die.

 

And then we cut back to Ben, as his curiosity is piqued.

 

BEN: Why would you do that?

 

DIYA: (over communicator) Because he could be a cruel drunk.

 

She says this, not angrily, but more in a tone of regret. And we can almost see Ben’s thoughts appearing on his face before he says them –

 

BEN: That’s how it began with me.

 

And we register Belle’s expression in the back – wondering what Ben is implying – as she remembers his childhood pains of his father.

 

And we take a moment with the three, as Ben looks to Theodor, who gives him a nod as though it’s time for them to go, before cutting away –

 

And now we are back with Diya, a sense of some time having passed, as she tosses aside the walkie, since it would have no use underwater anyway. Up ahead before her is the entrance to the Garden: a short bridge extending out across the ocean, to the building sticking up out of the water, the elevator entrance visible.

 

In the next shot, we are now at the dim entry corridor down in the Garden, as we see the elevator doors slide open, Diya stepping out of them. We see as her eyes look around, examining this place she has not been in for many years, remembering. But she also starts to look a little perplexed – something is off.

 

And we see Diya hurrying through the corridors, as it’s clear no one seems to be anywhere in the station, and we hear a few beats of suspense. Until at last, she reaches the room with the pool – and Belle is standing in there. Behind her, the pool appears to be filled with water, and a low magnetic hum can be barely heard.

 

Belle seems to have a nervous, almost hostile stare at Diya, this woman, if she can even be called that, who she has not seen for years, who she blames for so many deaths, deaths that matters to her. The music hums ominously. And she speaks:

 

BELLE: Everyone’s gone, afraid. … All you have to do is enter the water and wait. But first, I made a promise to someone – dead – Asset F. I’ll tell you what he says.

 

There are dark beats as Belle explains all of this, and we register the dark realization in Diya’s eyes. She knows this is the designation of the very same being of the original Monster, the very same being who instructed her on how to become one all those years ago.

 

DIYA: Asset F — you’re the one who’s been hurting Claire’s son?

 

And we then see dark-clothed Locke, up close at his dark eyes.

 

LOCKE IN BLACK: Only to get to you. Everything I’ve done here – was to speak to you. Only Belle would help me.

 

And we hear a soft, somber variation of the Man in Black’s theme. And once he’s finished his line, we get a quick shot on Belle – suggestive that she’s just spoken this to Diya – but we the audience don’t hear her, we only hear the Man in Black.

 

LOCKE IN BLACK: I may be dead, but I’m still trapped. The dead can only go to where – or to whom – the light resides strongest. …Or to speak rage to those in whom the dark is most vulnerable.

 

He sounds both frustrated and exhausted in tone. And then he adds, with almost a dark smile –

 

LOCKE IN BLACK: If they tell you you’re unstable, they’re lying. Nothing in you is strong enough for me to speak to.

 

We see another quick glance on Belle as he says this – she looks hesitant to repeat this. (But, presumably, she does.)

 

And once he’s finished saying it, we see Diya’s expression again, closing in. There are soft beats of music again, reflective of her theme. Something vaguely hopeful, yet still masked in doubt. We can see in Diya’s eyes, that she feels something profound – to be told by him that she is not unstable.

 

LOCKE IN BLACK: So – what was it like for you? Becoming this?

 

And he seems to ask out of genuine curiosity, the only other Monster he’s ever known. And we see her reflective, emotional in her eyes, before she replies:

 

DIYA: I lost a part of myself.

 

And we take in the Man in Black’s expression again, as we hear a dark mix of both Diya’s theme and his own theme. And then he slowly asks, hopefully:

 

LOCKE IN BLACK: See – ? How we’re fated to ruin?

 

And with a pause, Diya slowly nods. She now understands exactly what he once warned her.

 

And he nods, knowingly with satisfaction. And then he pauses… before asking, with a quiet desperation in his voice, the question he has long waited to ask her, the reason he has been trying to contact her, the question of the very promise he hoped on when he first met her –

 

LOCKE IN BLACK: Can the ‘Rabbit Hole’ help me?

 

And she stops to think – and then nods slowly and with uncertainty. Music beating softly.

 

DIYA: Only a spirit can survive down there. …There’s a chance it could rebirth you.

 

And we take one last pause on the Man in Black’s expression, as he lets out a sigh of hope, and we hear a few poignant but soft notes of his theme. We can see the gratitude in his eyes, in his cheeks and mouth. He slowly nods to Diya for one final time…

 

And then in the next shot, he is gone from our view. It’s just Diya and Belle now. And with a breath, Belle says:

 

BELLE: He’s gone now. …The water is waiting.

 

And she says this cryptically. Diya turns to face it, as Belle starts to head to leave. And she quickly steps down into the water, desperate for some hope, some change.

 

And she turns and lays back into the pool of water as we can hear its low magnetic hum. And she closes her eyes, floating at the surface of it…

 

– And in the next shot, back outside the station, Belle has just crossed the bridge from the elevator back to land –

 

– And we see Garrow walking past, with an explosive device – the same one Kate had just the day before – ! And the music suddenly blares to our shocking realization!

 

– And then we are back with Diya, as she rests in the water, her eyes shut, wondering… And then we hear a BLASTING BOOOOOOOM! – And her eyes open in panic as she suddenly springs from the water! Light flickering terribly!

 

And we again see outside – we hear the sound of fire burning, as we see smoke rising. Our view is upon the crowd of SAMSARA – a few dozen or so people – standing in the distance across the land. Among the crowd is Garrow and his mercenaries, all the security, scientists, Akamu, Horvath, Gaughan, Belle, Ben, and of course none other than Theodor as he stands in his crutches, holding onto Diya’s discarded walkie. Everyone has a mix of reactions to the explosion, but mostly Theodor just looks relieved. The music groans darkly.

 

DIYA: (over walkie) Theodor, what have you done?!?!

 

Her voice is cracking with fear. Theodor lifts the walkie closer to his mouth. The music still groaning with anxiety. And he replies darkly:

 

THEODOR: I knew you were desperate for a choice. For redemption.

 

We get a shot on Diya through the middle of his line, as we see her panicked, frightened realization. She is standing in the computer room of the Garden. And there are a couple of leaks of ocean water slowly flowing from the ceiling, like water from a faucet, behind her. The light is still flickering on and off, between darkness and dim light, over and over. The music thudding like a pounding heart.

 

We can also hear an anxious version of Diya’s theme, one that sounds as though it’s spiraling downward. And we can see the defeat in her eyes. The music still thudding. The water still leaking. The lights still blinking in and out of darkness.

 

THEODOR: (over communicator) You’re weak to water. Your natural form can’t materialize in it. – We’ve destroyed your only way out. – And the comm only reaches this walkie now.

 

And then the thudding pauses for a moment, as she desperately pleads, in tears:

 

DIYA: Please, Theodor. …Let’s learn to trust again.

 

And she looks desperate still, hoping… Before he replies:

 

THEODOR: (over communicator) It’s said that when the Devil claimed mankind, God cast them out of his garden, only to flood them later. — But I had a thought — I should keep my – Kali – trapped in my garden, and flood it. … Good-bye, Diya.

 

And there is a sound of static thereafter. And Diya stands there in the dim room, her spirits dying, as she feels hopelessly trapped, leaks of water slowly flowing around her still.

 

And the music increasingly blares with haunting anxiety, as we slowly zoom out from her, getting a wider view of the room, as we see her standing trapped, alone in the dark, water leaking into the room around her –

 

– And then with a thud,

 

L O S T

 

[End Credits]