Holler!

S04E10

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Raylan realizes that Shelby must have Ellen May with him, but before they can get into exploiting that knowledge, Art takes a moment to acknowledge to Rachel and Raylan just how awesome Shelby is, which is both deserved and hilarious, but his point is that the Marshal Service needs the prestige of bringing the case home. Meanwhile, after packing up the stuff in his office, Shelby and Ellen May plan to make a quick getaway from the Harlan airstrip, but when Shelby realizes the marshals have guessed his move and beaten him there, they're forced to drive on.

When they discover that Raylan has also anticipated their ground escape route and put up a roadblock, Shelby thinks they're out of options, but Ellen May tells him she has an idea, and they head to NOBLES HOLLER TO REQUEST SANCTUARY FROM LIMEHOUSE, and I knew Mykelti Williamson was coming back at some point, but this is still an awesome development. Shelby wants to pay Limehouse to keep Ellen May safe, but he gets more than he bargained for when Limehouse reveals he knows his true identity and takes him prisoner, figuring Shelby's worth a great deal of money to the right people.

Despite what happened last week (or maybe partially because of it), Johnny still feels like Boyd is slighting him, so he calls Wynn and his amazing, amazing sleep mask and tells him Drew Thompson's been exposed. Wynn tells Johnny he'd better get busy locating Thompson before anyone else does, while at Ava's suggestion, Boyd goes to see a "Nicky Kush" (really), who ran Audrey's before Delroy and is the one who hired Ellen May. He points them in the correct direction – which is hilariously convenient, given that Ava has taken refuge in Nobles Holler as well (this, at least, there's precedent for).

Limehouse brokers a reunion, and Ellen May gives Ava a hug that's as enthusiastic on her side as it is uncomfortable on Ava's. Ava still wants to buy Ellen May as well as Shelby from Limehouse, but he quotes her a figure of a hundred and fifty grand each, which gives her pause, as she REALLY wants that house on Clover Hill. Boyd wants to go through with it, though, thinking he can sell Shelby on to Detroit at a huge markup – but when the moment comes, Limehouse is all, "I am altering the deal," and says Boyd can have either Shelby or Ellen May, but not both. Boyd, surprisingly, thinks it's clear they need to silence Ellen May, but Ava, moved by the earlier encounter and still hoping to own some real estate, begs him to take Shelby instead. When the decision is announced, Ellen May positively freaks at the death sentence imposed on the man who showed her more kindness than anyone else, and actually spits in Ava's face, which is kind of terrifying in several different ways.

Later, when they wait for their ride, Shelby muses on his past, in the process letting it slip that Arlo is dead, which Boyd and Ava somehow hadn't yet heard. He also informs Boyd that the cocaine he brought to Harlan paid an awful lot of Crowder bills, which is why Boyd's father protected him no matter what. Boyd is unmoved, however, and sends Shelby off with Colton and Johnny to be handed off – unaware that Johnny, having had enough of Boyd and probably realizing his chance of getting Shelby out of Nobles Holler was somewhere south of squat, had agreed to tip Raylan and Rachel off as to the location of the drop. With a chopper containing Augustine and coming for Shelby in sight, Colton leaves him handcuffed to a tractor and bails – but the marshals show up just in the nick of time, and Augustine is forced to take back to the air.

In the end, knowing the wrath of Theo Tonin is coming, Wynn resolves to clear the country, while Boyd and Ava contemplate doing the same, and even the marshals know things are about to get bloody. I can't wait.

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As the marshals comb through Shelby's place -- coming up with some underwear that I hope to God belongs to Ellen May in the process -- Boyd and Raylan exchange their usual drawling barbs, and then Tim tells Raylan that roadblocks are being put up in strategic locations. I'd rather see them put up Roadblocks, but even though the real fun would be in seeing the on-screen graphics that describe Ellen May's progress, I think Shelby would be the one stepping up for his team. Raylan thinks Shelby's too smart to get ensnared that way, but does allow that they might at least slow him down as Boyd chatters on that Raylan should have been an outlaw, 'cause he'd still be able to shoot people, just without all the paperwork. Of course, he'd have to buy a different-colored hat, but I think Boyd would argue it would still be worth it. He adds that in addition to shooting people, Raylan would be able to be an asshole -- "your two favorite activities" (hee), "except you would be a rich asshole." Raylan replies that being a criminal could also have made him dead and when Boyd offers that he's doing just fine, Raylan asks, "What about Arlo?" Leaving aside the point that Raylan in his actual line of work could have been dead more times than the word "asshole" has been uttered this season, Raylan's obviously using Arlo as an example of a criminal ending up dead, but Boyd hasn't yet gotten the memo as it's pretty clear he thinks Arlo's still in prison as he blithely says he's been meaning to get by and see him. And the misunderstandings continue, as now Raylan thinks Boyd's being flip about Arlo's death (presumably misinterpreting "see your daddy" as "visit Arlo's grave"), and Raylan makes a threat that Boyd doesn't get but we understand would result in Boyd taking up residence six feet under. Before their morbid version of "Who's On First" can continue, though, Rachel enters and -- when Boyd starts babbling at her -- proves her worth of all our love by casually telling him to shut up before reporting to Raylan and Tim that Art did not want to see the two of them left alone... in bed! (I mean, I can't even apologize for that one.) Now that they're all there, Raylan asks the question: "If you shot Theo Tonin and threw Waldo Truth out of an airplane..." He doesn't finish the sentence, but given that he doesn't meaningfully trail off all that often, I'm guessing "airplane" hit a chord.

Ah, here's Shelby at the sheriff's office, collecting some cash and other items as he urgently tells Ellen May the morning shift will start at 5:30, and she should be safe there until then. Once "Henderson" comes in, she should tell him what she knows and if it's enough for Boyd to want her dead, it should also be enough for her to get witness protection. It's unclear if Ellen May came clean to him since last we saw her, but Ellen May isn't thinking about that now, as she asks Shelby why she can't go with him. He assures her that she doesn't want to be part of what he has to do, so she asks what her other option is, and in response he holds out a wad of bills and tells her to get on a bus until she reaches a coast. "Doesn't matter which one." Maybe not for his purposes, Ellen May, but just for the way you like to dress I'd recommend you go west. Ellen May reluctantly takes the money as Shelby reminds her not to just travel as far as Tennessee or wherever and expect that Boyd won't find her, but Ellen May -- in that frustratingly undeniable way of hers -- asks if she really can't go with him. Shelby, however, says he's sorry it has to be this way and leaves...

...only, as he drives, to see a stray dog on the road. He pulls to a stop, looking conflicted, and after a moment, he decides to turn around. Clever of them not to have the dog wearing a collar, because this scene's level of subtlety is such that I'd expect the thing's tag to read "Ellen May."

Speaking of whom, he catches up to her as she walks on the side of the road and tells her that if she joins him, they're never coming back. Ellen May asks where he's going and he tells her Mexico -- he's got a beach town in mind, but he could be swayed to the mountains if she likes. She confesses that she's never seen the ocean, so he kindly tells her that now's her chance, so she hops in and asks how long it'll take to get there. He tells her that if they're lucky, they'll be across the border before sunup, and Ellen May -- as dim and local as she may be -- is aware that the car would have to move awfully quickly for that to happen. Shelby, however, tells her he's going to fly them and as nice as he's being to her, it's just as well she doesn't know what happened to Waldo Truth or I'd imagine this revelation would make her at least a little nervous.

Despite his reluctance to take her with him, Shelby is finding some use for Ellen May, as she's driving while he's literally lying low in the back seat. Ellen May notes that she's lived in Harlan practically her whole life and yet has never seen the airport, and Shelby replies that it's not much of one -- just a couple of hangars and a single airstrip. Ellen May asks if he flies out of there a lot and he tells her when he first moved there, he avoided it, as he had to keep that part of his life hidden. "But lately, I've had the opportunity to renew my skills." This is far less of a throwaway line than it seems, at least for me, which is just another reason why I love this show. They're arriving at the airport and Shelby directs Ellen May where to go, but when she asks if he's talking about heading near the building with the light on, Shelby urgently tells her to drive on without slowing down...

...which turns out to be a smart move, as the marshals are already there with one of Shelby's deputies and the crotchety supervisor (I guess) of the place. After they get a report from their lookout that a car driven by a young woman went by, the old guy suggests Shelby might have flown out of someplace else, whereupon the deputy offers that that wouldn't make much sense given that "the sheriff's plane is already here." Raylan's eyebrows threaten to take him airborne as he asks for confirmation that Shelby has a plane and this is what I was referring to in the last paragraph -- if Shelby knew that being sheriff would give him access to a plane, it makes his risky choice in taking the job a lot more understandable. Raylan berates the administrator or whatever for never having mentioned that little tidbit when the marshals were poring over the air-traffic records, and irritatedly wonders why Shelby hasn't come for the plane before realizing that the light outside probably tipped him off. He takes a moment to swallow his frustration before asking if there's a roadblock at what sounds like "Cressland Pass," which apparently isn't on the map...

...but if there weren't before, there is now, and Raylan is standing vigilantly outside a Marshal Service SUV as Rachel tells him it's warmer inside. He decides to make a thing of it, sardonically wondering if Art told her to make sure he doesn't catch cold, whereupon Rachel decides to make A Thing of it, saying that she can deal with his aloofness. "It's annoying [hee], but I let it slide because you get your job done and you're easy on the eyes." She goes on that she can even handle the fact that Raylan will probably be her boss if he catches Shelby. "But if you don't get in the car right now, I swear to God I'm gonna start singing show tunes." This is nothing against you, Raylan, I swear: DO IT RACHEL DO IT. He asks if she promises, but it's pretty clear he's conceding, even though she softly adds that he shouldn't mess with her. I think there's no deeper meaning here beyond the combination of Rachel having had a shitty year and it being a very late hour resulting in her being momentarily unable to deal with Raylan's swagger, but I'm prepared to be proven wrong. Before Raylan can get in the car, however, another SUV pulls up and deposits Art. Yay! And by the way, if you didn't catch it, Nick Searcy voiced a lawman character on last week's Archer, and now he and Tim Olyphant both have been hilarious on that show. If Walton Goggins can make a trifecta, I just don't even know what. After wondering how Raylan makes the drive down to Harlan so often (Raylan: "I listen to a lot of Books On Tape") and saying that he's going to wait to suspend Raylan over "that Hunter Mosley fiasco" until after they catch Shelby, he informs Raylan that "the staties" let Boyd go, and Raylan snits that he hopes they broke his cell phone in half before they did so. Rachel: "I think you're the only person who does stuff like that." Hee.

Raylan thinks Boyd is probably calling Tonin, which gives them even less time than they figured, but Art thoughtfully says that Shelby's obviously been in law enforcement, so he knows that "when you run is when you get caught." Raylan then has an idea and says that Shelby had "like... whore's underwear" in his place. He realizes that Shelby's got Ellen May with him and if they find her, they find him. Rachel: "By the way, I have that same pair of panties." I don't know how we've done with so little Rachel this season, especially given the utterly befuddled look she gets out of Raylan here. Raylan then starts to go give the staties his new information, but Art is like, you're not doing that and here's why: Shelby is awesome. HA! Rachel is like, what now, but Art lists all the things Shelby got away with for all this time -- shooting Tonin, faking his death, pushing a guy out of an airplane while piloting it, parachuting into Harlan "with enough coke and cash to jump-start the economy of a small country," and then having "the balls" to get a job in law enforcement not once, but twice. Art wraps up Shelby's crime CV by noting that he spent a couple days riding around with Raylan while Raylan was looking for him, "and now he's run off with a hooker that's half his age. That's some badass shit!" Raylan, nodding without sarcasm: "It's pretty badass." Haaaaaa ha ha. Not that I don't agree with all of it, but Art giving this whole speech in an "Am I right?" tone is genius. Art's point, however, is not just to lionize Shelby, but to remind his team that this is a once-in-a-lifetime opportunity for them and as such, they don't need no goddamn staties. Raylan concedes that he's right, so Art sends them to their vehicles: "Let's go find a whore!" I'm really hoping the Marshal Service reconsiders its mandatory retirement age before Season Five.

I'm guessing Raylan called ahead and had the staties set up this roadblock before he actually got there -- because otherwise the timeline makes no sense -- but Shelby and Ellen May are watching from the woods. Ellen May has the surprisingly solid idea to drive through herself and pick Shelby up on the other side, but Shelby tells her the car isn't clean and besides, she'd probably be recognized. Out of ideas, Shelby thinks they should turn themselves in, although if that's his position I don't know how it hurts to try Ellen May's idea. Ellen May doesn't make that point, but she does say she won't do that -- she's not going to rat on Ava. Shelby says he hardly wants to either -- witness protection and a life of looking over his shoulder is his best-case scenario -- but the Feds are going to be watching everyone he's ever known, so they've got no place left to hide. Ellen May, however, says she's got an idea and even Shelby, who's a big fan, looks like he knows this is dangerous ground.

Boyd is on the phone with Ava, who's in a cottage somewhere, telling her that he, too, has figured out that Ellen May is with Shelby. Ava wonders what good she could be doing him and I'm really glad neither of them took it to the obvious place; instead, Boyd figures that he's using her as a conduit to a place to lie low. As we see Colton and Johnny in the background, Boyd asks whom Ellen May could go to in Harlan, but Ava tells him her father's in prison and, as we already know, her mother ran away when she was little. She wonders if maybe Ellen May would go to a "Nicky Kush," who ran Audrey's prior to Delroy and was also the one who brought Ellen May on. "Had some kind of twisted father-daughter thing goin' on." Well, nothing against Shelby, but that adds up. Boyd says he'll check him out before asking how she's doing and Ava tells him the food's good, which is another comment that will make a lot more sense in a little while. She once again protests that she doesn't want to leave him alone, but he once again replies that it's best for her to stay out of harm's way for the moment. When Boyd's off, Johnny asks what's up and Boyd tells him to "figure out whose bed we gotta drag Jimmy out of" (hopefully his face has healed up nice by now). Johnny says he meant to ask what the plan is, but Boyd dismisses him, so apparently Colton's fall in Boyd's eyes hasn't translated into Johnny being treated better than shit by his cousin. And speaking of Colton, when Johnny's gone off to make that phone call, Boyd lays his gun on the table and tells Colton this is his chance to redeem himself before asking if Colton can be the man he was in the war. Colton takes a looooong moment to consider, but he eventually tells Boyd that he's going to make things right. He didn't exactly answer the question, but from the look on Boyd's face, he can live with it. Johnny announces that Jimmy will be outside in five minutes, so Colton and Boyd head for the exit, with Boyd telling Johnny to stay there and wait for his call. When they're gone, Johnny looks around at the empty bar like he can't believe to what degree things have not turned out as he planned. But by the episode's end, he certainly won't be the only one.

In the car, Ellen May asks Shelby if he's been to the Mexican town that is their destination, and he fondly recalls that it's the most beautiful place he's ever seen. Ellen May grins that she likes Mexican food (Shelby: "Me too") before asking if they have religion in Mexico and Shelby tells her sure, although it's mostly Catholic. She supposes they give the sermons in Spanish, though, but he assures her she'll learn and as much as I've ragged on her, I could see where her kind simplicity would be a real comfort to Shelby in the situation he's in. Speaking of which, she thanks him for coming back for her, adding that not many people have ever cared enough to look out for her. "I know we're on the run and all, but I ain't never felt so free." Okay, now I'm picturing the two of them recreating the ending of Thelma & Louise. Honestly, though, not a lot of shows would even take the time for a character beat at a time like this; fewer still would make them this effective. That's actually twice now that Ellen May has caught me completely unawares and it's also another reminder how much I'm going to miss the Shelby character, assuming he leaves us at some point.

Wynn's security guy (wearing a suspiciously open robe; I've never thought about it before, but there's got to be some kind of extracurricular activity between these two) wakes him up with a phone call from "Crowder," to which Wynn groggily replies, "Which one? Doesn't matter." I'd laugh, but I have to comment on Wynn's oversized sleep mask, and if anyone who works on the show reads this and can get me dailies of this scene, I'd die happy. The Crowder on the other line is Johnny, who tells Wynn that "we" found Thompson, which is news enough for Wynn to pull the mask off his eyes. Hee. Wynn takes in the information about Thompson being Shelby before asking where he is and Johnny says he doesn't know, but given that the law and Boyd are out looking, he figured Wynn would "send some guys" to do their own search. Wynn, however, says that his people know Harlan County as well as the back of a stranger's hand, so Johnny is far more qualified to look. Johnny's voice quavers just a little as he asks if he has to find Shelby on his own, so Wynn tells him to subcontract. "It's how business is done in the twenty-first century." Heh. He adds that if Johnny fails, he can say goodbye to his dream of "displacing" Boyd and I'd imagine Johnny understands that that's not all he'll be bidding farewell to in that eventuality. Wynn concludes that he expects hourly updates, and then lies back down, gigantic sleep mask back in place.

The sun has risen and a close-up of a bloody knife lets you know on a visceral level where we are before your brain can even come up with the name "Noble's Holler." Limehouse -- oh, how I've missed you -- steps forward, still wearing a bloody apron and surrounded by his men, to greet Shelby and Ellen May, the latter of whom he's never met. She informs him that they've come for protection and adds that her friend Trixie always used to come up when she needed to disappear. Limehouse, however, says that Trixie had information for him and we learn of some bad blood between Limehouse and Shelby, as Limehouse recalls that Shelby shot down "my cousin's boy in front of that liquor store." Ooh, is that the same story Shelby told Raylan? If so, this is a long grudge, not that I'd expect any less from Limehouse. After some more contemptuous words on both ends, Shelby supposes that Limehouse needs money in the wake of the marshals confiscating all his pig cash (and thinking of that scene makes me smile all over again). Ellen May, seeing where this is going, begs Shelby not to leave her there, but Shelby offers Limehouse fifteen grand in cash to keep Ellen May safe and maybe get her out of town for a couple of weeks. Limehouse seems to agree to the terms, more or less, but after Shelby makes to say goodbye to Ellen May, Limehouse is like, not so fast -- I need money, just like you said. Shelby, already starting to panic even if he's not sure why, tells him the fifteen grand is all he has, but Limehouse replies that from what he hears, "you're worth plenty. Drew." Oh. OH. Shelby at least doesn't sacrifice his dignity by trying to run, but he still looks plenty terrified as Limehouse's goons drag him away. And he didn't even see what Limehouse did to Quarles!

Boyd and Colton are being silently threatening toward Nicky Kush, who's kind of the non-threatening lowlife you'd expect. Nicky chatters about how it's been a long time and he and Boyd aren't "friends on the Facebook," and Boyd's answering expression is about as deliciously pained as you'd expect. This gets Nicky off on the topic of Internet privacy and the NSA, but before I can suggest he watch the documentary I just produced, Colton decides he's had enough and comes at him. Nicky tries to hold him up, but when he asks for cash, Colton and Jimmy (the face isn't actually healed, but it's coming along) hold him while Boyd menaces him with a drill. Even though he threatens to stick it in his mouth, it's not the kind a dentist would normally use. Anyway, Kush lets it be known that whenever Ellen May was in trouble, she'd threaten to go to Limehouse...

...which is just a hilarious coincidence, given that Ava is also hiding out in Noble's Holler. Of course, she's taken refuge there before, if I remember correctly, so this isn't the contrivance it might seem to be. Regardless, she's asking if Limehouse was going to tell her and Limehouse replies that he wasn't aware he needed to keep her apprised of such things. Ava reminds Limehouse that Ellen May means her harm, but he's skeptical of that claim, and gets more so when he opens the door and Ellen May comes in and gives Ava an unreserved hug. Ava, for her part, hilariously looks like Ellen May's a golem come to squeeze her to death, but Ellen May excitedly tells her that she never blabbed, even after she knew Ava tried to have her killed, which she understands the reasons behind, by the way. Ava uncomfortably asks if Shelby dropped her off, but Limehouse informs her that Shelby hasn't left before having Ellen May escorted out of the room. Once she's gone, Limehouse makes the obvious observation that it sure didn't look like Ellen May wishes Ava any ill, so Ava decides to stop bullshitting: "How much for the both of them?"

From Ava's tone, it sounds like she finds the price of one hundred and fifty grand -- each, that is -- insalubrious, but Boyd is like, let's get 'er done. Ava, thinking of that house on Clover Hill, points out that that will clean them out (didn't Boyd have a bunch of cash beyond the three hundred grand he recently extorted? Maybe he spent that on the ring), but Boyd reiterates that she should convey their acceptance to Limehouse...

...because when we cut to him on the phone with Augustine, he's asking for half a million bucks for Shelby and a big piece of the heroin trade in Kentucky to boot. (He doesn't offer to throw Ellen May into the deal, but I doubt that would help his efforts anyway.) Augustine is reluctant, but allows that they can talk when Boyd has Shelby. As I recall, that's essentially what he said last time they talked, so maybe Boyd acting like he just won the lottery is premature?

Teri is telling Johnny that she's pretty tired of hearing Ellen May's name and if I were her, I can't imagine I wouldn't feel the same way. Johnny, in desperation, asks if maybe Ellen May has someone she can count on to which Teri replies, "If she had somebody she could count on, I guess she wouldn't be sucking hillbilly dicks for money." That's pretty solid reasoning for a Kentucky trailer hooker. Johnny then gets a call from Boyd, who tells him Shelby "made a wrong turn" and crossed Ava's path, so they're going to spend everything they have to buy him from Limehouse. Johnny thinks they can't trust Limehouse, but Boyd replies that he doesn't have a choice before adding that if they succeed, they'll be "kings." Johnny would be flustered enough without Raylan and Rachel entering the trailer at that very moment, so he disconnects with Boyd, whereupon Teri guesses that she's seen Raylan there before. Raylan: "As much as I don't consider myself the type, I have become a frequenter of this particular whorehouse." That's how it starts, Raylan!

Johnny suggests Teri step out, but Rachel says that actually, they're there to speak with the ladies of the establishment in hopes they can help them find someone? Teri immediately and correctly figures this is about Ellen May, and is not thrilled about it. Johnny, however, says that maybe Raylan is asking the wrong questions, so Raylan, figuring Johnny's in a mood to talk, tells Teri she can go. When she's out, Johnny tells Raylan that they might want to look into where Boyd keeps his money so they can get him on tax evasion, and when Raylan skeptically asks if Johnny's going to tell him, Johnny bitterly says sure -- after all, Boyd doesn't care about anyone. He goes on about Boyd's self-absorbed childhood and how they all had to follow along with his stupid white-supremacist bullshit, and we know about Johnny's issues with Boyd and all that, but his point is that Boyd now buying a house on Clover Hill is the height of hypocrisy, which especially from Johnny's position is probably not an unfair assessment. Raylan is at least amused by the whole thing. Rachel is too, as she grins that Johnny sounds like Boyd stole his girlfriend, but Johnny -- who's acting like the bottle of whiskey in front of him is actually his paramour -- corrects her that Boyd stole Raylan's girlfriend, while he stole Johnny's job. He pulls up his shirt and blames Boyd for his gunshot scars as well, but Raylan says he can't really put those on Boyd. They're the price "when you choose to live a life as a small-time asshole." God, I hope no one's called me that via email -- the potential consequences could be far more severe than I thought. Raylan continues that if Boyd brings Shelby to Theo, he'll be a made man, "and you'll be spending the rest of your days playing second fiddle." He says that if Johnny can help them get Shelby, maybe they can do him a favor in the process and with Ava already at Noble's Holler and Boyd on his way there with a briefcase heavy with cash, it's hard to imagine Johnny's going to be seeing many better offers.

Boyd gets out of an old American car, having been shuttled up to the Holler by three of Limehouse's men and he's in no mood, as he asks to "dispense with the bullshit" and makes it clear that he shares Limehouse's opinion that whatever good feeling there is between Ava and each of them does not make them friends as Ava stands there with a tight "I hate it when my men fight" look on her face. If only Raylan were here, her expression would really get interesting. Boyd hands over the briefcase with the three hundred grand and says he'll take what he came for -- and by the way, said prizes are standing there looking scared -- but Boyd's attempt to bluster his way to a quick trade fails, as surprises probably none of us, although I kind of would like to see an "I told you so" smirk on Johnny's face. For, you see, Limehouse tells an illustrative story about a dream he's had in which he's the pilot of a plane carrying all the people from Noble's Holler, all the people he cares about, when something goes wrong. He says he always wakes up just before impact, sweaty and shaken, and Boyd replies, "While I believe I understand your subtle metaphor [hee], what I don't understand is why you feel the need to tell me." This, however, only affords Limehouse the opportunity to grandstand that the amount of money Boyd's given him isn't enough for two lives -- he can have one of his choice. By the way, I hope you're appreciating Mykelti Williamson's ability to lord it all over a scene as much as I am.

Boyd looks as impotently frustrated as he gets, but asks for a moment to confer with Ava, which is granted. Surprisingly, he thinks it's clear they need to take Ellen May -- it's not that I question his loyalty to Ava at all, but he's really whitewashing the financial difficulties they'll face if they don't deliver Shelby, not to mention the fact that not being absolutely sure Shelby will get to Tonin will screw them royally, as we'll see. Anyway, Ava -- having been convinced by Ellen May's outpouring of love earlier -- takes the position that Shelby is their future, a strong play given how much Boyd's been focused on it. She begs him to make the choice she wants, so Boyd reluctantly steps back in Limehouse's direction and announces their decision: Shelby. Ellen May starts whimpering on Shelby's behalf and I guess it's as good a time as any to point out that whoever stays behind in Noble's Holler isn't exactly guaranteed safety.

In fact, had the decision gone the other way, it probably would only have resulted in Limehouse dealing Shelby directly to Tonin. But that's all meaningless to Ellen May, with her daddy issues and Shelby's kindness, and she steps forward and agitatedly begs Boyd and Ava to take her instead. Ava repeats the point I just made -- dammit, Ava, I wouldn't have bothered if I'd remembered that -- that Limehouse won't treat Shelby any differently than they're going to, but this only enrages Ellen May to the point where she spits right in Ava's face, and if anything were going to get Boyd to change his mind, I'd think it would be that. And everyone's been talking about what a "wild animal" Ellen May is, but I hadn't seen much evidence of it until now. That actually was a little bit scary! She continues to snarl, but this devolves into crying as Shelby tells her that it's okay -- it's his time. Knowing that these developments mean Ava has no further need of his protection, Limehouse says his boys will take Ava and Boyd out of the Holler. "When you get another three hundred grand together, you give me a call and we talk about gettin' your little ho back." That's one of those sentences I know I'll never have occasion to say in my daily life and I truly regret that. Ava looks distraught, but Boyd takes her by the hand and everyone moves to where they need to be...

...and then we cut to the three of them waiting for their ride and Shelby is taking the time to fill in some interesting details -- the reason he smashed up his legs is that he jumped with too much cocaine, which caused him to come in hot, breaking his legs. Two things: Loading Waldo Truth up with coke is probably how Shelby ensured he would die, which is hilariously cold. On top of that, how much frickin' coke does all this mean Shelby had in that plane? When you think of all the explaining Tonin must have had to do after that, you can understand it's not just the shot he took in the eye that's fueling his need for vengeance. Shelby reminisces that without the broken legs, he never would have stayed in Harlan -- "whole world would have been mine to explore." Boyd guesses that Shelby had a good run, all things considered, and Shelby replies that that's thanks to Boyd's father and Arlo, "may they rest in peace." Here's the clear statement of the news of Arlo's passing and after Ava gets confirmation from Shelby that Arlo is dead, Boyd hangs his head for a moment, but even though Shelby did not mention who ordered the hit, Boyd's tone sounds a bit accusatory as he says that it's "poetic justice" that Shelby will be joining Arlo in the afterlife rather soon. Shelby makes his best play in telling Boyd that the drugs he brought to Harlan is what built the Crowder family, getting them out of trailers and abject poverty, which is why Bo Crowder protected Shelby all those years no matter what happened. He adds that he wonders what Bo would think about Boyd now handing Shelby over to be tortured and killed, but whatever he may actually feel about the issue, Boyd's response is that Shelby is merely reaping what he's sowed. Coming from Boyd this may be hypocritical, but as much as I love Shelby, it's hard to argue with the objective point. And the time for such arguments has come to an end, as a van pulls up with Colton, Johnny and Jimmy in it, whereupon Boyd steps forward and informs Shelby that if it's any consolation, his sacrifice will be providing for the generation of the Crowder family. I wouldn't put it past Shelby to reply that it's not actually much solace, thanks, but perhaps he's silenced by the knife in Boyd's hands. Boyd, however, merely cuts the bonds on Shelby's wrists and delivers him into Colton's custody, adding that Colton shouldn't forget about his money...

...while, presumably someplace not too far away, parked in their SUV, Rachel is questioning their decision to let their actions ride on Johnny's word. Raylan: "He made a very compelling argument." Heh, but also, no kidding -- I really appreciated how well David Meunier conveyed the resentment, both petty and deep-seated, that Johnny feels toward Boyd. Rachel still wonders if they're getting played, but at that moment Johnny delivers on his promise in the form of a text to Raylan telling him where the drop is and Rachel has no idea about the address, but Raylan reminds us of how well he knows the area by directing her where to go. They nervously discuss how much time they have and Raylan tells us apparently, they'll discover which field to attack by looking up. And that does sound like a pretty esoteric thing for Johnny to make up, so they can probably be confident he's dealing straight with them.

Out in, as promised, a field, Colton has just handcuffed Shelby to a tractor as Shelby tells him about Ellen May being in his house when Colton came to ask about her. He tauntingly goes on that Colton did some nice police work there, adding that Ellen May's sweater was draped over the chair even as he was blustering about. Colton smacks him in the face, but this only prompts Shelby to call him a "junkie pussy," and by the way, Colton's going to die at Boyd's hand once he has no further use for him. Colton draws his gun and soon he's got it in Shelby's face. Now, I was pretty sure what Shelby was up to here, given the pants-shittingly scared expression he revealed a couple times earlier and his talk of Tonin torturing him, but Colton doesn't know about that. However, Shelby yelling at Colton to pull the trigger is apparently the tipping point and out of nowhere, Colton starts giggling -- a mean, hateful sound -- and he puts away his weapon and grins that Shelby is going to wish he killed him.

As Shelby breathes hard and once again lets his abject fear show, Colton remarks that in the service, he saw men die slowly. "It is a horrible way to go." Shelby begs Colton to kill him, saying that Boyd will still get his money, but Colton has something to prove to Boyd -- and besides, a chopper containing Augustine has just appeared in the vicinity. Colton takes off, which, unless I missed something, doesn't make sense given Boyd's reminder to him not to forget about his money, but he does leave the keys to the cuffs hanging prominently on the nearby fence. Just as well, as he's recently seen firsthand what delays not having handcuffs keys can bring. With Colton gone, Shelby tries in vain to free himself from the cuffs, but things are looking grim for him as grim can be, as the helicopter touches down and Augustine slides open the door with the requisite menace of someone who's about to settle a ancient score. However, the marshals pull up at that exact moment and I'm surprised Augustine doesn't see if he can put one in Shelby's ear here, but maybe they're back to the "Tonin wants Shelby alive" point with which the show has seemed to take some liberties. As Raylan gets out, his eyes on the rapidly disappearing chopper, Shelby tells him Colton vanished into the woods, sending Tim and Rachel after him. Raylan frees Shelby from the tractor only to cuff his hands behind his back and when Art, who pulled up in his own vehicle, asks him if he's going to talk, Shelby says that if they can get him out of there, he'll give him whatever they want. Shelby really has spent a lot of time with Ellen May, because it sure sounds like something she'd say. Speaking of whom, Art asks Shelby where his "girlfriend" is, and Shelby doesn't bother to correct him as he tells him she's at Limehouse's and she's going to need their help. Raylan puts Shelby in the back seat, and then allows himself to look blown away by the significance of what's just happened. He's no doubt picturing himself in Art's job and I just can't WAIT to see how he's going to fuck up getting that promotion.

Speaking of rising and falling fortunes, Boyd gets off the phone and heavily tells Ava and Johnny that the marshals rescued Shelby before Augustine could reach him. Ava asks how that's possible, but Boyd's at a loss and Johnny gives nothing away as Ava wonders what they do now. Boyd tonelessly replies that they can either make a case to Tonin "or we run." It takes a lot to remove Boyd's swagger, which is just as well, since I'm not sure I can handle the result. And speaking of running...

...Wynn has also just gotten the news, and he tells his security guy about it and that Augustine wants him in Harlan. The guy asks him if he's going to go, but on consideration Wynn asks his guy if he has a passport, getting this reply: "You need a passport to get into Harlan?" Okay, I was wondering about the robe and the separate beds and all, but now it makes sense: Wynn might find this guy hot enough to fuck, but he's clearly too dumb to share a bed with. Wynn is like, I'm talking about Canada, dumbass, whereupon his guy tells him he'd prefer not to run away "like a little bitch." Wynn chooses not to take offense, merely telling him that he's not sure how he'll survive without him, but he'll try to get by. He actually delivers the line pretty inscrutably, but thick as he may be, the guy still reads it as an insult, not that it's likely to matter much to the story.

Raylan sees Tim and Rachel returning and notes that they look empty-handed, and Art replies that this collar could mean a whole new life for Raylan, whereupon Raylan asks if he's still going to suspend him for Hunter. Art: "Oh, you bet your ass. But still -- enjoy this!" Heh. Tim angrily reports that Colton got away and then Art tells his team that Tonin knows they have Shelby, and he's not going to be happy. Raylan: "Meaning we just gotta figure out how to get out of Harlan alive." Well, Raylan, I think that's going to be the name of the game for everyone. See you week.

John Ramos is a writer and film producer living in Los Angeles. His new film, a documentary on online privacy and the sale of personal data called Terms And Conditions May Apply, recently premiered at the Slamdance Film Festival in January. You can get news on it from the film's Twitter account. Also, you can email John at couchbaron@gmail.com, follow him on Twitter at https://twitter.com/couchbaron, or check out his blog, "Pull Up A Chair," which he'd just love for you to stop by.

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