Lost
Collision

Episode Report Card
Daniel: C | 1 USERS: A+
YOU GRADE IT
Good…bad…Ana's the one with the gun
In a hurry? Read the recaplet for a nutshell description!
We open the show staring down the barrel of a gun. Oh, crap; are we supposed to be wearing 3D glasses for this episode? The gun fires several times, perforating a shooting target in a cluster in the head and neck. Ana-Lucia grimly lowers her smoking gun and removes her yellow protective goggles.

Cut to a psychiatrist's office, where a shrink is trying to draw Ana-Lucia out. She cleans up nice. He asks how she's doing. "Well, the family with the screaming baby moved," she says. Did you shoot at them? The shrink says she must be thrilled, but she says it's actually too quiet now. Extra-special fidget-cam close-up of her fingers nervously drumming on the arm of her chair. The shrink takes notice, then asks if she and "Danny" are trying to work things out. She says there's nothing to work out, and that she's one of those people who's better off alone. Well, that's just safest, wouldn't you agree? Shrinky asks how the firing range went, and how it felt to hold a gun again, and it was "good" and "very good" respectively, and he says all these steps count: "You've come a long way since we met four months ago." Ana-Lucia doesn't say anything to let us know happened four months ago that prompted the shrink visits, but I imagine we'll find out before the hour is up.

Instead, Ana-Lucia asks if some unnamed "she" has said anything about when it would be okay for AL to come back to work, and there is some "Do you think you're ready?" and "what do you think?" jousting, before the shrink strolls over to a table and picks up a billfold-y thing, and hands it to her. "Welcome back to the force, Officer Cortez."

Back to Ana-Lucia getting the stink-eye from Sayid after she's shot Shannon. Sayid slowly stands up, and stomps towards Ana-Lucia, only to get intercepted by Eko, and they wrestle in the mud, with Sayid holding his own against the much larger Eko as they both fight for the gun. There is much shouting from the other castaways. Eventually, Ana-Lucia bops Sayid on the back of the head, knocking him out. Michael tries to intervene, and gets a face full of gun from Ana-Lucia. Michael, I'd be careful. She's LAPD. I'm just saying.

Back from the opening break, Ana-Lucia's still got the gun pointed at Michael and Jin while she asks Eko to check to see if Sayid has anything on him. Eko's all, "Whaaa?" and doesn't seem moved by Ana-Lucia snapping that Sayid just had a gun pointed at Eko's neck.

Michael tries to intervene, and Ana-Lucia fires a warning shot and manages not to kill anybody (THAT WE CAN SEE). For those of you confused about Sawyer's gun supposedly having only one bullet (that is now currently lodged in Shannon), she now has Sayid's gun. Everyone's a little frightened that Ana-Lucia is, even for her, losing her shit. She orders Eko to tie up Sayid, and he refuses. "He tried to kill you!" she says. He tried to kill you, Ana-Lucia, and Eko stopped him. Libby and Bernard watch in horror. Ana now tries pointing the gun at Libby and telling her to tie up Sayid, using the vines from the stretcher. Michael tries to protest that they won't be able to carry Sawyer, but Ana-Lucia tells him to shut up. But even Libby ain't havin' it: "Ana, Sawyer needs a doctor or he'll die." "I know what I'm doing," says Ana-Lucia. Isn't that what Sledge Hammer used to say?

Flashback to Ana-Lucia in her uniform striding through her precinct, to her captain's office. Her captain is a strong-willed Hispanic woman. Just like Ana-Lucia! I'm sure that's just a coincidence, though. They smile at each other, and Captain Foxy hands over Ana-Lucia's assignment. She's chagrined to find out she's desk-bound, and says she wants to go on patrol. "I don't care what you want," says Captain Foxy. "Just put me in a car!" snaps Ana-Lucia. Not so good at taking orders, is she? "You were in an officer-involved shooting. No." Ana-Lucia switches to Spanish for this: "You're doing this because you're my captain? Or because you're my mother?" What a shock. Actually, I guess the shock is that in a city the size of Los Angeles, there ought to be plenty of precincts, enough so that Officer Cortez could work in one where her mother wouldn't have to make decisions that could put her in harm's way (or put someone else in harm's way instead of her daughter). Captain Foxy Mama takes a moment and says it's both. "I need to be back on the street. Please," says Ana-Lucia, but Captain Foxy Mama says if she does that, everyone will know that she pulled some strings: "You don't want me to treat you like my daughter? Don't ask for favours," she says. So Ana-Lucia asks for a transfer. Captain Foxy Mama says she won't transfer her, but she will put her back in a car, and signs the order. Wow, she came around quick. Like, instantly. For no reason that we're given. If I had to guess, it's because she'd rather that than have Ana-Lucia go somewhere where Captain Foxy Mama couldn't look out for her (but that's all the more reason why Ana-Lucia wouldn't be under her mother's command in the first place). Not to mention that the show needs to parallel Jack with Ana-Lucia, so she needs to live up to the expectations of her parent in the workplace, just like Jack does.

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