SEASON 2 EPISODE 9 - What Kate Did

Written by Steven Maeda and Craig Wright

Directed by Paul Edwards                                      Transcripts Courtesy of

[A shirtless Jin comes out of his tent followed by Sun who snuggles against his back. Hurley comes out of his tent nearby, and gives Jin a thumbs up for getting some. Sun sadly watches Sayid digging Shannon's grave. Scene switches to Jack changing Sawyer's bandages.]

JACK: Sorry, man, I know this hurts. Michael told me you pulled the bullet out with your bare hands. You'll have to show me how to do that sometime.

SAWYER [whispering]: Where is she?

JACK: What? I didn't...

SAWYER [whispering]: Where is she?

JACK: You mean Kate. She's been watching over you for the past 24 hours straight. The only way I could get rid of her was to send her out to get some food for you.

SAWYER [whispering]: I love her. I love her.

[Jack sits down looking disappointed.]

[Kate is gathering mangoes in the forest and almost falls from the tree. She sees a black horse which trots off.]

[FLASHBACK to Kate sitting outside a house playing with a Zippo lighter. A truck pulls up playing country music and a drunken guy, Wayne, gets out.]

WAYNE: Well, heya, girl. What are you doing here? [He grabs onto Kate] Hey, there.

KATE [annoyed]: Alright, let's get you to bed. [She helps him to the bed as he stumbles around] Watch your step, watch your step.

WAYNE: What the hell is that smell?

KATE: Probably your breath.

WAYNE: Sha, right.

KATE: Come on.

[She puts him in bed and takes off his shoes.]

WAYNE: You're beautiful. Hey. Hey! I just gave you a compliment.

KATE: Yeah, I heard you. [Kate puts a blanket on him]

WAYNE: Aren't you going to take my pants off first? [He grabs her arm] You are beautiful.

KATE [jerking away]: Goodnight.

[We see Kate exiting the house and getting on a motorcycle. She hesitates a moment and rides off. The house explodes.]

COMMERICAL BREAK

[Kate enters a coffee shop and we see her mother, Diane.]

DIANE: Coffee, pie, both?

KATE: How about a beer?

DIANE: I'd like to see some I.D.

KATE: I'm 24, Ma.

DIANE: You want to ride around on that on that deathtrap of yours without a helmet -- I'm not going to help your cause by getting you drunk.

KATE: How's that wrist?

DIANE: What, this? No, that shelf in the kitchen sticks out sometimes. You'd think I'd remember it was there, but I banged it.

KATE: Don't.

DIANE: I made my bed, Katherine.

KATE: Well, your bed's gone, Ma.

DIANE: What?

[Kate hands her an envelope.]

DIANE: What is this?

KATE: An insurance policy for the house.

DIANE: What? I never...

KATE: I took it out in your name.

DIANE: What did you do? Does Wayne know about this?

KATE [leaving]: Just remember that you were here and you didn't see me, okay.

DIANE: Katherine! What did you do?

KATE: I took care of you, Ma. I've got to go and you're not going to see me for awhile.

[Kate hugs her and leaves.]

DIANE [calling after her]: Katherine, what did you do? Katherine!

[Kate in the hatch returning from her fruit gathering trip.]

KATE: Hey.

JACK: Hey. You okay?

KATE: Yeah. Yeah, I think I'm just -- I think I'm tired. How is he?

JACK: His fever's still up there. I can't tell if the anti-biotics are working. It'll help to get some food in him. You should get down to the beach for -- for Shannon.

KATE: I was actually thinking that I should stay and watch Sawyer.

JACK: I'll stay with him.

KATE: You should be there.

JACK: Keep him hydrated -- maybe mash up some of that fruit and see if you can get him to eat it. And everybody'll be at the beach so don't forget the button.

KATE: I got it.

JACK: I'll be back in a couple of hours. You're sure you're okay?

KATE: Yeah, I'm great.

[Ana banging a stake into the ground as Eko approaches.]

ANA: Hey.

EKO: I'm going to go to the funeral.

ANA: I don't think I'm going to make it.

EKO: I think most of them realize it was an accident, Ana.

[At Shannon's funeral.]

SAYID: Shannon and I were strangers. We never would have met if -- We wouldn't even have spoken if -- But we did meet and we did speak. At least -- I loved her.

[Sayid walks away. Jack grabs a handful of dirt to pour on Shannon's grave.]

JACK: May she rest in peace.

[Locke, Sun, Claire start filing past the grave to put the ritual handful of dirt on the grave.]

[Kate puts on a Patsy Kline record, and starts talking to Sawyer even though he's unconscious.]

KATE: You hungry? I'm just going to mash you up some fruit here. When you wake up you're going to get a kick out of me feeding you like a baby. I saw a horse. Yeah, that's what happens when you don't sleep.

[Sawyer starts to stir and whisper.]

SAWYER [whispering]: [something unintelligible]

KATE: Sawyer? Are you awake?

SAWYER [whispering]: [something unintelligible]

KATE: What?

[Sawyer opens his eyes and grabs Kate's throat.]

SAWYER [whispering]: Why did you kill me? [Then yelling] Why did you kill me?

COMMERCIAL BREAK

[In the hatch, we see the record needle at the end of the album. The alarm is going off. Jack and Locke run in.]

LOCKE: It's the alarm.

JACK: Kate! Kate!

[Locke runs to enter the numbers. Jack finds Sawyer lying on the floor.]

JACK: Sawyer.

LOCKE: 4, 8, 15, 16, 22. Gah. [He hits the backspace key as there are 5 seconds left on the countdown] 23, 42.

[The timer resets. Jack lifts Sawyer back into the bed.]

LOCKE: What happened?

JACK: I don't know.

LOCKE: Well, you said...

JACK: I don't know, John.

LOCKE: Well, where's Kate?

[Charlie comes upon Kate walking in the jungle.]

CHARLIE: Kate, hey. You missed the funeral.

KATE: Yeah, uh, I was with Sawyer.

CHARLIE: Oh, right. A few of them came -- the new people. Not her -- the one who killed Shannon -- that would have been a bit awkward. They seem to have had a rough time of it. It looks like they went bloody Lord of the Flies out there. [Kate stops and stares into the distance] You haven't listened to a word I've said.

KATE: Do you think there are horses here?

CHARLIE: What?

KATE: I think I saw a horse in the jungle.

CHARLIE: I've seen polar bears. I've seen monsters, well, heard monsters; but horses, no. [Kate starts walking away] Kate! Where are you going?

[FLASHBACK to Kate buying a bus ticket.]

KATE: Tallahassee one-way, please.

[The guy in line behind her starts talking, but we can only see the back of him.]

GUY IN LINE: Tallahassee? I spent a week in Tallahassee one night. It's all strip malls and waffle houses. What's a pretty girl like you going to do down in Tallahassee?

KATE: I'm sure I'll find something.

GUY IN LINE: I'll bet you've got family down there, huh?

KATE: Actually, I'm just visiting.

[Reveal of the Marshal as the guy in the line.]

MARSHAL: Hey, hey, don't I know you?

[Kate looks around and notices a couple of agents in the bus terminal.]

KATE: No, I don't think so. [She tries to walk out]

MARSHAL: Don't run, Kate.

[She punches him a couple of times and he cuffs her. The other agents run up.]

MARSHAL: I've got her. Kate Austen you're under arrest for murder.

KATE: I didn't do anything.

MARSHAL: Uh-huh, yeah you did. Your mama gave you up, Kate.

[Charlie playing guitar on the beach, as Jack enters.]

JACK: Charlie, have you seen Kate?

CHARLIE: A little while ago in the jungle. She was acting kind of barmy, asking me about horses on the island.

JACK: You know where she is now?

CHARLIE: She's on the path heading back to the caves. Everything okay?

JACK: Yeah, Charlie, everything's fine.

[Locke using bolt cutters to cut the handcuff off of Jin's wrist.]

JIN [shaking Locke's hand]: Thank you.

LOCKE: Free at last, huh?

[Jin starts to leave and shows the cuff to Michael on his way out.]

MICHAEL: Yeah, man. Looks good.

[Michael is examining a metal strip on the ceiling of the hatch.]

MICHAEL: Hey, Locke, what's up with the blast doors?

LOCKE: Blast doors?

MICHAEL: Yeah, like in case of an explosion they come from the ceiling. That guy down here, uh...

LOCKE: Desmond?

MICHAEL: Desmond. He didn't tell you about these -- what they're for?

LOCKE: No, no he didn't. But he did leave a movie.

MICHAEL: A movie?

LOCKE: Yeah. You want to see it?

EKO [appearing]: I would like to see it too -- if you don't mind.

LOCKE: Why not? The more the merrier.

[Kate sitting in the jungle. Jack walks up.]

JACK: Kate, what the hell are you doing out here? What happened in the hatch, Kate? Why'd you leave? I come back -- I find Sawyer just lying on the ground. You just took off...

KATE: Is he okay?

JACK: Yes, Kate, he's fine.

KATE: I'm sorry.

JACK: Are you?

KATE: Yeah, I'm sorry. I'm sorry that I am not as perfect as you. I'm sorry that I'm not as good.

JACK: Okay, what's going on with you?

KATE: Just forget it.

JACK [grabbing her arm]: No, don't walk away from me.

KATE [struggling]: Let go of me. Just...

JACK: No. Kate. [He grabs her] Kate, Kate, Kate.

KATE: Don't! I've got... [she starts to cry]

JACK [hugging her]: It's okay. It's okay.

KATE: Please, this place is crazy -- it's just -- I can't -- it's driving me nuts.

JACK: I know. It's okay. It's alright. It's alright.

[Kate kisses him, looks confused, and runs off.]

JACK: Kate!

COMMERCIAL BREAK

[Locke, Michael, and Eko watching part of the film.]

THE FILM: From the moment the alarm sounds you will have 4 minutes to enter the code into the microcomputer processor [splice] induction into the program. When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything [splice]. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the Dharma Initiative, thank you. Namaste. And good luck.

MICHAEL: Alright, so you've been pushing that button every 2 hours since you got down here.

LOCKE: That's right.

MICHAEL: How does that even work?

LOCKE: I set up 2 person shifts -- 6 hours -- everyone's on the roster.

MICHAEL: Don't they want to know why?

LOCKE: I think the film's pretty self-explanatory.

MICHAEL: Really? All I heard was something about electro-magnets and an incident. What about all the missing pieces?

LOCKE: Oh, you mean the splices? Yeah, just a frame here and there, I think -- nothing important. [to Eko] What do you think? About the film -- what do you think?

[Eko doesn't say anything, but gets up and leaves.]

[Kate sitting, teary, at Shannon's grave, as Sayid approaches.]

KATE: I'm sorry I missed it -- her funeral -- I had to be with Sawyer, so...

SAYID: Why aren't you with him now?

KATE: Because I'm going crazy. Do you believe in ghosts, Sayid?

SAYID: I saw Walt in the jungle just before Shannon was shot. Does that make me crazy?

[FLASHBACK to Kate in handcuffs in a car with the Marshal on a rainy night.]

MARSHAL: It's a long drive back to the arraignment, you comfy [he laughs]? Why now?

KATE: What?

MARSHAL: Nice, corn fed farm girl like yourself -- no history of violence, straight A's, no record, couple of speeding tickets -- just got to wonder, why'd you kill him now? [Kate doesn't respond] Oh, right, yeah, don't tell me. You wouldn't want to incriminate yourself, not after you were so smart planning it. That jury back in Iowa sure ain't going to get hung up on pre-meditation. And a gas leak, come on, it's amateur hour from top to bottom.

KATE: Sounds like you've got it all figured out.

MARSHAL: I do have you all figured out.

KATE: You don't know anything about me.

MARSHAL: White trash mom divorces dad, starts up with some guy who's a drinker. He knocks her around a little bit, she marries him, because, you know, that's what happens. And then this drunk, this Wayne, he moves into your house, and you get to lay there every night and listen to him doing your mom right there in daddy's old bedroom. And even that wouldn't be so bad if he didn't beat her up all the time. But she loves him. She defends him. If that don't make a person want to kill somebody I don't know what does. But the question is now, why now? Why after all these years did you just decide to blow poor Wayne up? He come knocking on your door late at night?

KATE: He never touched me.

[Suddenly there's a black horse in the road and the car crashes into a pole. The Marshal is knocked out and Kate grabs the keys to the cuffs. He tries to stop her but she kicks him out of the car and starts driving off. She sees the horse standing there looking at her, and then drives off.]

[Michael and Locke in the hatch.]

MICHAEL: Why can't you just put the numbers in now?

LOCKE: It doesn't work that way. The alarm goes off at 4 minutes; you can't type anything until then. [Locke presses some keys to show nothing happens on the screen].

MICHAEL: You mind if I check out some of this hardware?

LOCKE: Sure. Just don't break it.

[Locke walks toward the kitchen and finds Eko sitting at the table.]

LOCKE: Hello again.

EKO: Hello. I have something I think you should see. If you don't mind, I will begin at the beginning. Long before Christ the king of Judah was a man named Josiah.

LOCKE: Boy when you say beginning, you mean beginning.

EKO: At that time the temple where the people worshipped was in ruin. And so the people worshipped idols, false gods. And so the kingdom was in disarray. Josiah, since he was a good king, sent his secretary to the treasury and said: "We must rebuild the temple. Give all of the gold to the workers so that this will be done." But when the secretary returned, he had no gold. And when Josiah asked why this was the secretary replied, "We found a book." Do you know this story?

LOCKE: No, I'm afraid I don't.

EKO: What the secretary had found was an ancient book -- the Book of Law. You may know it as the Old Testament. And it was with that ancient book, not with the gold, that Josiah rebuilt the temple. On the other side of the island we found a place much like this, and in this place we found a book. [Eko unwraps the book and pushes it toward Locke] I believe what's inside there will be of great value to you.

[Locke opens the book. A square has been cut out, and inside is a piece of film.]

COMMERCIAL BREAK

[Jack chopping wood, as Hurley approaches.]

HURLEY: Hey. [Jack doesn't answer] So, Rose's husband's white, didn't see that one coming.

JACK: Is there something you need, Hurley?

HURLEY: No, just taking a walk, thought I'd say hey. Who's taking care of Sawyer?

JACK: Sun is.

HURLEY: So, you're like, mad at him?

JACK [laughing]: Why would I be mad at Sawyer?

HURLEY: Maybe because he's the one that always comes down here and chops wood, and now you are? It's like, transference.

JACK: What are you a shrink now?

HURLEY: Well, that's what they call it in the mental hospital.

JACK: I'm not mad at anyone.

[Sun in the hatch with Sawyer. Kate enters.]

KATE: Where's Jack?

SUN: I don't know. He didn't come back.

KATE: Has he said anything?

SUN: Sawyer? No, he's still sleeping. Can you watch him? [Kate doesn't reply right away] I can stay with...

KATE: Yeah, I -- I can.

SUN: Thanks. [Sun exits]

[FLASHBACK to Kate entering a recruiting office. We see Sgt. Sam Austen on the phone at a desk.]

AUSTEN: Right, uh-huh. Yes, I'm sure that's the exact one you have, uh-huh. I'll send one over to you, right. [He sees Kate] I'll call you back later.

KATE: Hi, Dad.

AUSTEN: Kate, the police and the U.S. Marshals are looking for you. You shouldn't have come here.

KATE: I've been waiting outside for 2 hours, they're not here.

AUSTEN: Is it true what they're saying? [Kate doesn't answer] Katie, what'd you come here for?

KATE: Why didn't you tell me, Dad?

AUSTEN: Tell you what?

KATE: I was making a scrapbook -- a surprise for your birthday. So I called one of your COs to get some pictures of you in uniform. The pictures that he sent me had dates on the back -- photos of you in Korea up until 4 months before I was born. Why didn't you tell me that Wayne was my father? Why?

AUSTEN: I didn't tell you because I knew you'd kill him. And your mother loved him. You were 5 years old. I wanted to take you along with me. She wouldn't let me.

KATE: So why didn't you kill him?

AUSTEN: Because I don't have murder in my heart. I'm going to have to call them.

KATE: Can I have an hour?

[He nods, and Kate hugs him.]

KATE: Bye, Daddy.

[Kate and Sawyer in the hatch.]

KATE: Can you hear me? Sawyer? Wayne? [Sawyer stirs] I'm probably crazy and this doesn't matter, but maybe you're in there somehow. But you asked me a question. You asked me why I -- why I did it. It wasn't because you drove my father away, or the way you looked at me, or because you beat her. It's because I hated that you were a part of me -- that I would never be good. That I would never have anything good. And every time that I look at Sawyer -- every time I feel something for him -- I see you, Wayne. It makes me sick.

SAWYER: That's about the sweetest thing I've ever heard.

KATE: Sawyer?

SAWYER: Who the hell's Wayne? [he opens his eyes] I'm in a bunk-bed?

KATE: Yeah, you're in a bunk-bed.

SAWYER: Are we saved?

KATE: No, Sawyer. Not yet.

COMMERCIAL BREAK

[Eko and Locke splicing the film together.]

LOCKE: Voila. What are the odds?

EKO: The odds?

LOCKE: Here, hold this down on the table there nice and flat. I mean, think about it. Somebody made this film. Someone else cut this piece out. We crash -- 2 halves of the same plane fall in different parts of the island -- you're over there, I'm over here. And now, here's the missing piece right back where it belongs. What are the odds?

EKO: Don't mistake coincidence for fate.

[Kate helping Sawyer walk through the hatch.]

SAWYER: You've got to be kidding me.

KATE: Air lock's over this way.

SAWYER: Come on, admit it, we've been rescued.

KATE [exiting from the hatch door]: You got it? Sorry. Watch yourself.

SAWYER [seeing the jungle]: Son of a bitch.

KATE: Watch yourself, okay?

SAWYER [sitting down]: Oh, got it.

KATE: Okay.

SAWYER: Home sweet home.

KATE: Yeah.

SAWYER: I really thought you were yanking my chain. What do you keep smiling at?

KATE: You need a haircut.

SAWYER: Oh, really? [Sawyer sees something in the distance] Maybe you ought to take me back inside.

[Kate turns to see the black horse.]

KATE: You see that?

SAWYER: If you mean the big ass horse standing in the middle of the jungle, then yeah.

[Kate approaches the horse and nuzzles it before it walks away.]

SAWYER: Do you know that horse, Freckles?

KATE: Yeah, I do.

[Ana sitting on the beach making a sharp pointy stick as Jack approaches carrying little bottles of liquor.]

JACK: Tequila and tonic, that's your drink, right?

ANA: Where's the tonic?

JACK: We're running a little low on mixers.

ANA: You sure you want to waste that on me?

JACK: Figured you could use a drink. I know I could.

ANA: Are you going to try to convince me that everyone here doesn't hate me?

JACK: Only if you're going to try to convince me that every woman in the world's not crazy.

[Eko and Locke watching the Film as Michael checks out the computer hardware in the other room.]

THE FILM: When the alarm sounds, either you or your partner must input the code. It is highly recommended that you and your partner take alternating shifts. In this manner you will stay as fresh and alert [splice] utmost importance that when the alarm sounds the code be entered correctly, and in a timely fashion. Do not attempt to use the computer [splice] for anything else other than the entering of the code. This is its only function. The isolation that attends the duties associated with Station 3 may tempt you to try and utilize the computer for communication with the outside world. This is strictly forbidden. Attempting to use the computer in this manner will compromise the integrity of the project and worse, could lead to another incident. I repeat, do not use the computer for anything other than entering the code. Congratulations, until your replacements arrive, the future of the project is in your hands. On behalf of the DeGroots, Alvar Hanso and all of us at the Dharma Initiative, thank you. Namaste. And good luck.

[Michael hears a bing sound. He looks at the timer which is at 51:00. He hears the bing sound again. He looks at the monitor which displays a word.]

MONITOR: Hello?

MICHAEL [typing, not talking]: Hello?

MONITOR: Who is this?

MICHAEL [typing]: This is Michael. Who is this?

MONITOR: Dad?