Now this is an episode I dig. What Kate did was blow up her stepdad, who was actually her real dad, which made her angrier than the fact that he was beating her mom. She's captured by Mr. Marshal, who will eventually rue the day he ever picked up this assignment, but she escapes when the dent-proof car he's driving slams into a pole. On the island, this translates into her freaking out a lot and hallucinating just a little bit, and kissing Jack and running away from him. And she also sees a black horse, but if that's a hallucination, then Sawyer (who comes to and flirts with her and stuff) is having the same one. And what's especially weird about the black horse is that it was a black horse that the marshal was swerving to avoid when he went off the road and hit the car.
Locke screens the cult classic Orientation for Eko and Michael. What's kind of trippy about that movie is that if you play Pink Floyd's "Dark Side of the Moon" it totally matches up. Locke and Eko are beginning their live game of backgammon, I think; at any rate, Eko sees the film and we find out that the Bible that the Tailaways snagged in Arrow station had a missing piece from the film. So Locke chooses the "deleted scenes" option on Orientation: Eko's Cut, and there's really not that much new revealed, just Dr. Kandel stressing that the computer is not to be used for anything other than entering the numbers, as that may cause another incident.
Michael is not in the hatch very long before he starts screwing around with everything. Unbeknownst to anyone else, while Locke and Eko are watching the lost Kandel scene, Michael manages to stop the timer, and then the computer says (well, displays, anyway), âHello?â so he types it back. And then the computer displays, âWho is this?â And Michael types that it is Michael. And there is this long pause, and then the computer types, âDad?â So in addition to everything else, the Others are not doing a good job of supervising Walt's internet usage.
Down in the hatch, Dr. Jack is tending to a still-unconscious Sawyer. Sawyer's kind of tossing and groaning a little, while Dr. Jack makes cheery banter about how impressed he is that Sawyer pulled the bullet out of his shoulder himself. Sawyer mutters something, eyes still closed. Jack can't quite make it out, and Sawyer repeats it: "Where is she?" Jack deduces that Sawyer means Kate, so he cheerfully says Kate's been looking after him for the past 24 hours, and the only way Jack could get rid of her was to send her out for food for Sawyer. Sawyer mutters something again. Again, Jack can't quite catch it, and the still-mostly-out-of-it Sawyer says it again: "I love her." Jack looks slightly chagrined, and sits down, probably trying to think of a loophole in the Hippocratic Oath that will allow him to let Sawyer die.
Kate is, as usual, up in a tree, because the only good fruit on the island is the stuff thirty feet off the ground. As she climbs down, half-sliding, she drops some from her pack. On the ground, she squats to pick it up -- and there, in the jungle, is a beautiful black horse. Kate's shocked, although after the polar bear, very little would surprise me (although, as will be revealed later, her shock at seeing the horse has a little more behind it than just its incongruity here on the island). She takes a step towards the horse, which whinnies and canters off, and is gone within seconds. The unmistakable sound of the impending flashback ratchets up on the soundtrack.
And now Kate is but a lass of -- well, she looks exactly the same, but it's safe to say this didn't happen yesterday. She's sitting on a porch, wearing a Janis Joplin T-shirt and playing with a lighter (the Zippo-brand Foreshadower model). Headlights splash against the side of the house, illuminating our apple-cheeked heroine, who looks up at the pickup jerkily making its way up to the house, country music a-blarin'. Her expression doesn't change, and she puts the lighter back in her pocket.
A guy gets out of the truck; this, we'll find out, is Wayne, and he staggers towards the porch, surprised, but not unpleasantly, to see Kate. He moves to embrace her, or something, and she sidesteps him and says, "Let's get you to bed." She helps him clatter through the house, which the set designer thankfully chose not to drape in black-velvet Elvis paintings. "What's that smell?" he says at one point. "Probably your breath," she says.