In a hurry? Read the recaplet for a nutshell description! Finished? Click here to close.
Oh, Dr. Sara, you evoke such mixed feelings in me. On the one hand, I think it is awesome that you pried up the bathtub stopper with your teeth, managed to wriggle out of your duct-tape bonds and stunned Kellerman with a hot iron to the chest. On the other hand, I cannot believe that you merely stopped at giving Kellerman a third-degree burn. Woman, he tried to kill you! What is this leaving-him-alive business?
And on the THIRD handâ¦Kellerman! Baby! You'll always be a magnificent bastard in my book. And only in my book, apparently: after Kim catches Kellerman lying about having killed Dr. Sara, he obliterates him from public record. Kellerman is now persona non grata.
Speaking about One World Conspiracies coming back to bite you in the assâ¦
So Aldo and Michael have a reunion, and it's all very emotional on Michael's end, because we find out that while Michael was horribly abused by a foster father, he has bigger issues with Aldo having killed said abusive foster father. Michael airs his many grievances with Aldo at the top of his lungs, and I don't want to confuse correlation with causation here, but I'm pretty sure that's why Mahone was able to find them so easily. The One World Conspiracy stooge manages to shoot Aldo clean through the liver, and although the boys are in a hurry to catch a plane, they still have time to pull over, bury Aldo, erect an aesthetically-pleasing cairn, conduct a full funeral service, then sit around and talk about their feelings, Then they decide that enough's enough, pack Sucre on the plane to South America, and vow to take down the One World Conspiracy.
However, one should never count Mahone out: after terrorizing turncoat Coyote, Mahone manages to plow his car into the brothers' beater. We end the episode with those two in a stand-off.
P.S. There were two other plots this week. Long story short: Kacee's in custody after ducking into a pharmacy to get a prescription for Dede's unspecified ailment. Why those fools couldn't wait 'til they crossed into Canada is a mystery. Also, Detective Slattery follows the evidenceâ¦to the conclusion T-Bag wanted her to come to. This is how Bellick gets arrested for Geary's murder. Want more? The full recap starts right below!
Previously on Prison Break: Lots of stuff happened, but the final shot was on Dr. Sara drowning in a tub courtesy of Kellerman. So no doubt, the episode will open with the continuation of that tense scene, right? Right?
Wrong. Instead we get a close-up of Michael, all shell-shocked and freaked out, staring at Aldo and repeating, "It was you." Aldo tells him to go easy, and Michael's all, "Stay away from me." Linc is wearing an expression like, "Well. This is not going at all as I imagined." He wants to know, reasonably enough, what's going on. Michael is getting more hissyfitty by the minute; he insists, "I know him! I know him!" Lincoln posits that this is impossible. Michael repeats that he knows Aldo. We flash back to the boy Michael being tossed in a closet; a male silhouette looms in the doorway before slamming the door shut. Aldo moves forward again, saying, "Michael... " and Sucre steps up, saying, "Maybe that's far enough." (They are so totally registered at Sur La Table.) (Also, so long as I'm making parenthetical comments: isn't Sucre so much more awesome when he's not all, "Wah wah wah Maricruzzzzzzzzzzzzz... " Sorry -- I drifted off just thinking about that plotline.)
Lincoln asks, "What the hell's going on, Dad?" Michael finally realizes he's acting just a wee bit drama-queeny, and pulls it together enough to give us the backstory: "After Mom died, you were in juvie. They put me with this... this foster father, down on Pershing Avenue. He punished me, locked me up." We flash back to Boy Michael sitting in the spookily-lit room. Michael continues, "If you leave someone alone in the dark for that long, their eyes start to adjust. They start to see things, no matter how small." This narrative is beginning to sound suspiciously like the Smeagol-to-Gollum transformation, but I suppose it's too much to hope that Michael will begin gamboling about, shrieking, "We wants it! Give the precious to usssss!"
Anyway, Michael's career as a prison-breaker-outer was off to an early start, but his foster "father" had kept the door hinges extra-squeaky, and the minute Boy Michael jiggered the door, the foster father pummeled him back into a corner.
And then, inexplicably, we cut away. I have no idea why. It's not like this is a tension-laden narrative flashback. Since adult Michael is telling the tale, obviously he survived, and since he's also pointing fingers at Aldo, obviously Aldo had something to do with it. Would it have killed anyone to have just seen the scene through to its logical conclusion? ANYWAY. Here we are, at the bottom of the world's nicest hotel bathtub with Dr. Sara. We cut to footage of a fish swimming along and some sweetly sincere fishing guy explaining the merits of assorted lures. As the fishing program continues, Kellerman unpacks a neatly-folded blue tarp and spreads it on the floor.
A knock on the door interrupts these housekeeping duties. Kellerman pauses, then resumes his postmortem prep, taking out a hacksaw and some rubber gloves. There's a second knock, and as Kellerman heads to the door, the manager opens it. The security chain keeps the door from swinging wide open, and Kellerman's able to block the view of the room. The manager tells the very sweaty and visibly edgy Kellerman that a couple of the guests are complaining about the TV volume. "Ask them if they'd like to be complaining about the volume of my victim's death struggles," Kellerman does not reply. We flash to Dr. Sara working loose from her duct tape bonds. Kellerman promises to turn down the TV. The manager is all, "Great. I'll wait." While Kellerman does that, Dr. Sara continues to splash away; we see her getting ready to pry out the tub stopper with her teeth. I know, I know -- suspend your disbelief.
After the sweaty, nervous, shifty-eyed Kellerman turns off the TV, the splashing sounds are more evident. The manager asks, "Is everything okay in your bathroom?" Kellerman merely blinks and asks, "Excuse me?" As Dr. Sara grabs the stopper chain with her teeth, the manager presses, "Your bathroom? There's a noise coming from it?" and Kellerman lies about how his daughter is taking a bath in there and she's quite messy. We switch back to him saying, "I will clean it up, scout's honor," right as Dr. Sara manages to pull out the plug with her teeth. Then he slams the door on the manager (who, inexplicably, is not whipping out his phone to call 911 on the creepy perv that Kellerman appears to be). That sticky conversation out of the way, Kellerman collapses to the bed to reflect on how hard it is to bring the A game, day in and day out, to the killing-people gig.
Meanwhile, out in the desert, Michael is flouncing off in a tizzy, his entourage fluttering nervously behind him. Linc has, of course, jumped to the wrong conclusion: "He did this to you?" He gets Aldo to stop chasing down Michael and heads over to Michael, demanding protectively, "He did this to you? Did he do this to you?" Aldo watches nervously, probably realizing for the first time that his two sons will always be more loyal to one another than they would be to him. Michael finally turns to Aldo and demands, "How could you do that to another human being?"
That, as it turns out, is not "lock your son in a dark closet for however long," but rather "kill the bastard who locked your son in a dark closet for however long." We flash back to the door opening and Michael turning to look at Aldo, who gives him a poignant look. The "younger" Aldo walks in and reassures the bruised Boy Michael, "It's okay. You're safe now. He's not going to hurt you anymore." Boy Michael takes Aldo's outstretched hand. Aldo walks him out of the room, saying, "Come with me, and don't look back." Naturally, Michael does, and he's shocked to see his former foster father crumpled in a pool of his own blood. He runs off.
We go to the present, where Michael is still all worked up. Aldo walks forward, his hands thrown up. Linc gives him a murderous glare. Aldo persists, "Michael... it's going to be all right." Michael does not look like he believes this.
Meanwhile, Kellerman's reverie on the bed is interrupted by the sound of gurgling water. He grabs his gun and heads into the bathroom. Kellerman has only enough time to notice the empty tub and the duct tape everywhere before Dr. Sara pops out and gives him a hot iron to the chest. We hear a sizzle, then Kellerman's agonized scream. He collapses backward, the iron still smoking on his chest. Dr. Sara quickly scoops her assorted belongings back into her purse (I had to go look at these to calm myself down as the chaos was shoveled back into her bottomless bag), but her egress from the bathroom is blocked by Kellerman. So she breaks out the window screen, looks at the two-story drop, then looks back at Kellerman. He's just gotten to his gun -- why she didn't plant that iron in his face is beyond me, because that would have taken him out more effectively, and still not been lethal -- so her mind's been made up for her. Dr. Sara rolls out of the window, taking care to land on her side. We do not see her purse as she falls. You will all have to excuse me as I bellow in agitation over this oversight.
She lands on a car's windshield and just twitches for a moment. Kellerman gets up and sticks his head out the window, bellowing her name... but she's managed to hobble off somewhere, leaving only a bloody windshield behind.
We leave the show behind and go to the commercials. I see the diamond people got their licks in before any Blood Diamond previews this week.
When we come back, it's to a shot of dusty oxford stepping across the sun-baked desert floor. Mahone's made his way to the cabin of last episode, and within seconds has figured out that some sort of scuffle went down. He walks out, following the bloody footprints that lead out of the cabin.
A few yards away, Michael's still carrying on. When he blows his cool, he really blows his cool. That's what decades of repression will do to you. He says, "Six months! Six months I was in that place. Where were you? How long did you know?" Aldo protests that he found Michael as soon as he could, but the state kept moving Michael around. Michael snarls, "Then you went away again, right?" Aldo asks why nobody's thinking about his feelings. The four men continue walking and Aldo points out, "I was the problem from day one. Your lives are what they are because of me!" Michael replies, "Lincoln told me about [the One World Conspiracy]. Apparently, you were some kind of analyst. That's the job you chose over your family." Aldo protests that he thought he was doing the right thing by protecting them. Michael stops and says petulantly, "From what, Dad? From who?" We cut to Sucre, who's rolling his eyes warily. Aldo says that the One World Conspiracy had enemies, and if those enemies wanted to get to Aldo, they would have targeted his family. It seems to me that those enemies would have targeted the family anyway, reasoning that it would smoke Aldo out of hiding, but I'm hardly an evil genius on the same level as the One World Conspiracy stooges or their antagonists. Anyway, Aldo's incoherent justifications end with him saying he left once he realized the One World Conspiracy was actually conspiring to put politicians in charge and decree Tickle Me Elmo X the hot toy of the holidays. Michael completely loses it by this point, shouting, "You could have come back at any time!"
Aldo says he couldn't have come back, because turning on the One World Conspiracy only made things more dangerous. Michael doesn't see Aldo's actions as a loving sacrifice. Instead, he says, "We were your sons." Aldo rebuts that they still are. He says they can fix all this. Michael -- who appears to have cycled through his unresolved childhood anger about being abandoned and is now dealing with his adolescent rage at his parents being flawed -- says, "This can never be fixed." He walks off with Sucre.
Then Aldo calls, "There's a tape that gives us everything we need. Linc will be set free if we find it." Lincoln finally speaks up with, "You're not going to believe who he thinks has it." Michael turns around and reluctantly asks, "Who?" Linc replies, "Sara." The scene closes on Michael's face, which is wearing an expression like, "Perhaps now is not the time to tell them that she just not-dumped me. Again."
When we get back, we're at the hotel. The same hotel that has the hyper-vigilant manager. And yet, there are no cop cars in the wake of the screaming, the big crash into a windshield, the blood everywhere. In fact, the gently-smoking Kellerman is just ambling around the hotel parking lot, gun in hand, inquiring with local hospitals as to whether they've treated the julienned flesh of the good doctor Sara.
Kellerman's inquiries are interrupted by a call from Kim. The smirky agent asks for a report on Dr. Sara, and Kellerman lies, "She's dead. I'm dealing with the body right now." Kim is no dummy. After commenting blithely that Kellerman must be relieved to have finished the messy business of killing his pie pal, Kim asks, "One more thing: confirmation. I need a photo of the body. Take one with your phone, and send it to me --" Kellerman interrupts, "No! Not a good time for me." Oh, he just keeps digging himself in deeper and deeper. Amazing what a few third-degree burns do to your scheming processes.
Since Kellerman has just stepped over the line -- it's one thing to lie to the people you plan on killing, but another to lie to the people who plan on killing you, apparently -- Kim can lean in for the kill with a smile on his face and a song in his tiny black plastic heart: "Paul, take a breath. Then take the picture. I'm waiting." Kellerman hangs up the phone and looks around in a panic.
Since we don't have enough on our plate this hour with A) Michael's Freakoutapalooza '06; B) Mahone's inexorable pursuit; C) Dr. Sara's bloody perambulations; D) Kellerman's frantic tuchis-covering, and E) Bellick's forthcoming police adventures... there is also the C-Note et famille subplot. You know what I'm going to start doing, in these episodes where there are more than FOUR plotlines going at once? I'm going to relegate the least interesting plotline to its own one-paragraph recap, then continue the rest of the episode. So here you go:
C-Note, Kacee, and Dede have picked up an RV and made their way to Harvey, North Dakota. They're camped by a bucolic lakeside, where C-Note's reading to Dede from Richard Scarry's Big Book of Prison Break Themes about how when you have family you love, you'll do anything for them. After we get the heavy thematic lifting out of the way, we establish the complication for the episode: Dede's without the medicine she needs for her as-yet-unnamed digestive ailment, but Kacee has an emergency prescription. Instead of hitting the gas and filling up that 'scrip in Winnipeg, Manitoba, the worried parents decide to hit the local pharmacy, where the pharmacist just happens to be reading a copy of the paper that has Kacee's picture on the front page. The pharmacist delays getting the pills and Kacee's change back to her so that the cops can come. Kacee's cornered outside the pharmacy. Thinking fast, she discreetly drops the pills into the trash can behind her; this way, C-Note can retrieve them later. Then she's arrested by the local police. This tears C-Note up inside, and sets the stage for his plotline, which will inevitably include trying to break Kacee out of the local pokey while launching the first Bring Your Daughter To Crime Scenes Day.
Now that we've gotten that out of the way, let's resume recapping one of the other FIVE plot threads running through this episode. We're in Tribune, Kansas, where Bellick is cooling his heels in Detective Slattery's office. He picks up a photo on her desk -- her, the husband, two elementary-school-aged children, and a big, friendly dog. Slattery comes in and says bemusedly, "That's old. The kids are bigger now." There's some amiable chatter, and then Slattery asks, "So you guys were out here in Kansas together?" Bellick confirms that they were. "Doing what?" Slattery inquires. Bellick mumbles they were just seeing the sights. Slattery replies, "You left Chicago to see the sights in Tribune, Kansas?" Bellick blusters, "Last time I checked, a man could go where he wanted." Slattery says softly, "Mr. Bellick --" "Brad," he replies. She shrugs, "Brad. I don't care what you were doing out here. We're both in law enforcement. We can each sniff out a perp like a hot fart -- pardon my French. We both know you're not a criminal, so... I don't care if you boys were out here whooping it up without the wives or" -- and here she leans in -- "going Brokeback." Bellick looks disgusted by the implication that he might be so hunky as Heath Ledger or Jake Gyllenhaal. Slattery finally gets to her point: she's not going to judge his activities, but she does need to know what they are so she can find out who carved up Roy.
Bellick finally comes almost clean, telling Slattery, "[We] got a lead that one of the Fox River Eight is here." Slattery looks a little rattled, but asks which one. Once she finds out it's T-Bag, she confirms his rep with, "The man who did all those horrible things to those teenagers?" And veterinarians! Let's not forget the veterinarians. Then Bellick spins a cock-and-bull story about how he and Geary couldn't track down the wily sociopath, so they split up. He concludes that Geary and T-Bag had one last meeting. Slattery then plays to Bellick's undeserved sense of self-importance by asking, "Do you think you could answer some questions that might help us track down Theodore Bagwell? We'd be indebted." Bellick answers nobly, "I'll do whatever I can to help nail that son of a bitch," but does not conclude, "Because it's the least I can do for letting him loose after our torture session."
Back in the desert, Michael and Aldo are still standing still and yammering on. It is absolutely killing Sucre. Michael points out that if Dr. Sara has anything, she doesn't know about it. Lincoln's all, "Where is she? Can you get a hold of her?" and when Michael replies that he can call her mobile phone, Sucre finally snaps. He pleads, "Please, please, please, bro, call her from Panama. We got less than two hours. I've got to make that flight." Everyone looks startled to be reminded of the plane. Then a noise like falling gravel distracts them. This time, Michael's got the super-hearing, and they all fall quiet, the better to hear Mahone's approach.
Lincoln has the only sensible idea: "Run! Run!" They do. Mahone promptly whips out the gun and begins firing. The boys hide behind a short stack of rocks and make a plan: they'll hand their sole remaining gun (?) to Aldo, then make a run for Sucre's car. Why Linc and Aldo didn't drive the SUV to the cabin last episode is beyond me; it's not like Coyote hiked in. Anyway, Aldo will cover them while they head for the car. Linc calls shotgun and they all head back to get Aldo. Aldo sprints to the car, Mahone gets off a few more shots, and Aldo stumbles, but gets to the car. They speed off. Mahone is left to stand among the rocks and fume.
Sucre's rejoicing about how they made it, Linc's grinning, and Michael even stops sulking long enough to smile. Then he notices his hand getting wet and he says, "Linc... " Aldo looks at him, and when we pan down, we see that Aldo's shirt is now soaked with blood.
Commercials. On the bright side, at least there are no laundry detergent spots. That would be kind of cruelly ironic.
When we come back, Michael's ordering Sucre to drive them to a hospital. Sucre's all, "Do I look like Mapquest to you? How the hell do I know where anything is?" Michael and Linc then reassure Aldo he's going to make it, but Aldo begs to differ: "It's bile. He got me clean through." Linc repeats that Aldo's going to make it. Aldo begins wrapping up his business: "Listen to me, both of you. I wish I'd never left." Michael begs Aldo, "Don't talk. Just breathe, okay?" The camera focuses on Linc's face, which is frozen in grief. ["Because now that he's been shot, everything is hunky-dory emotionally... ?" -- Sars] We cut back to Michael breathing in time with Aldo, as if to will his father to keep going.
Back in the police station, Bellick is picking up a doughnut and telling Slattery, "If we nail Bagwell, he might still have some of Geary's things on him, like his backpack, which has his personal stuff in it. I know his wife would love to have that." Slattery assures him that if they find Bagwell, he'll get it from them personally. She continues, "It's the least we could do, considering how you're helping me out. Though some of the guys on the force are concerned that you're -- ah, nothing. You know what? Why don't you tell us what you know? We'll track down Bagwell, we'll get Geary's effects back to his wife, and I'll make sure everybody involved knows your help was invaluable. I'll even recommend that you get most of -- if not all of -- that reward money." Around a mouthful of doughnut, Bellick asks, "What is it exactly that the guys on the force are concerned about?" That some rogue streak of animal cunning might bar him from being stupid enough to blunder right into Slattery's exquisitely calibrated manipulation? Slattery downplays how maybe Bellick's been lying about how he got his head injury. Bellick sighs, "You got me. Geary and me had a little dust-up over how to go about finding Bagwell. It got physical, and he hit me. The two of us, we fought like brothers. I didn't want to rat him out to the cops. After the fight, we split up. And then... " And then Bellick begins crying around a big fat mouthful of doughnut. Slattery suggests gently, "Why don't we focus our energy on finding the man who killed your friend." Bellick tearily says, "That's what Roy would have wanted." And then he takes another bite of delicious Boston Crème doughnut, because that's what Roy would have wanted too.
Sucre's beater speeds along toward a hospital. Going by how the piano's plinking along, they really needn't have bothered. Aldo weakly protests that they shouldn't go to the hospital because they'll be caught. Michael sniffs, "Then we'll be caught. I'm not going to let you die." Linc is all teary, but he cocks his head back as Aldo says, "Listen to me. You find Sara Tancredi. She can end this. It's up to you now."
Meanwhile, Mahone's tearing down the road, putting out bulletins for Sucre's car -- somehow, he was able to discern the license plate from fifty feet away, in the middle of a gun battle -- and getting snappy on the phone. Then another call comes in and his demeanor brightens considerably: "What hospital?" We'll find out after the break, won't we?
Commercials. Would you like to know what Iâd like for Christmas? An end to those disturbing Yaris commercials with the little spider made from fuel pump nozzles.
When we get back, we learn that Mahone has not arrived in time for Aldomania. Instead, he's hanging with the Coyote. The police explained that they were called in once the doctors noticed his big gun shot wound (GSW). And from there, it was but a hop, skip, and a database query to the two outstanding warrants for drug trafficking. Coyote tells Mahone he wants to talk about Michael Scofield. Mahone has to swallow hard to contain the sudden, Pavlovian excess of drool that appeared upon hearing Michael's name. However, Coyote also wants to cut a deal before he spills the beans on Michael's plans. Mahone asks the cop for some privacy; the cop does not look as though he approves of cutting deals with wounded drug kingpins.
Speaking of Scofield, here he is, brooding over the rough-hewn cross that now adorns Aldo's final resting place. Yes, that's right: in the time it took us to sit through two Mahone scenes and a commercial break, Aldo has died, the boys have found a beautiful yet secluded river bluff in which to inter his body, and they've dug a grave, covered the grave with stones, arranged a bouquet for the grave, found the straight boughs used to make the cross marker, and conducted a graveside service. But wait! There's more! Michael has to express his regrets: "One day. That's all we had." Linc lovingly refrains from adding, "And you spent most of that day throwing tantrums." Sucre's sitting on top of the car, giving the brothers a little privacy. Michael reflects, "When things were at their worst, there were days I thought I'd never see the sun again. But he saved my life." Perhaps this was something Michael could have brought up a few minutes ago when Aldo was still alive?
Mahone comes back in and tells Coyote that they can offer this sweet deal: all charges dropped, and the government picks up the cost of Coyote's medical care. Insert your own bitter quip about the government's priorities in re: whose medical care it will pay for here. However, Coyote has a counterargument: "No deportation. I want citizenship." Mahone repeats, "Citizenship?" The guy on the hospital bed with the oxygen feed in his nose says, "[It's] a little incentive. And I want it in writing." Mahone rubs his forehead and says, "I'm so tired of playing games." Coyote smirks, "Start typing." Mahone gives him a pissy look, and goes to unplug many of Coyote's machines. Over the shrilling of some detached machine that goes ping, he turns off another machine and says, "This is a good one. No morphine drip." Coyote looks alarmed. As a nurse enters the room to ask what Mahone's doing, he whips out his badge, yells, "FBI! Out! Out! Out!" and slams the door in her face. Then he twirls around and stalks over to Coyote. The other man asks, "What are you doing?' "Getting you a little incentive," Mahone replies. Oh, wow, it is so wrong to find this fun to re-watch. And yet...
Slattery's getting off the phone and congratulates "Brad" on his instincts in re: the Hollander house. He says unconvincingly, "Damn." Slattery asks, "If you knew about him and Hollander, why didn't you just head over there yourself?" Bellick says he couldn't find the house. Slattery can't believe it: "Really? It's listed." Bellick has no lie, plausible or otherwise, to counter that. A younger detective opens the door to Slattery's office and nods, and she gets up to check something in an envelope. It is quiet long enough for Bellick to get nervous. Slattery brightly assures him that everything's fine, then asks if he's ever been to the Fauntleroy Hotel. He has not. Slattery replies, "Well, that's strange. Because they found this receipt in Geary's hotel room, charged to your credit card." Bellick says he has no idea how it got there. I believe him -- he's sloppy enough not to recall all the details of his little torturing experiment. We flash back to T-Bag kicking it old-school in the suite and noticing the receipt, and that is right when the penny drops for Bellick. Slattery's a little less friendly now: "I think you're being evasive. You should tell me the truth, Mr. Bellick." Not realizing that he's cooked like the Thanksgiving turkey, he replies, "What happened to 'Brad'?"
Oh, we all know what happened. But Slattery's going to take the long way around to get there: "About seven years ago, I got my first homicide case. A woman. Pretty. She was brutally attacked and her boyfriend left her for dead. But she was still breathing -- barely. But she punched into her cell phone the killer's number, so she solved the crime for us. When we found the receipt, Brad, it was in Geary's hand, the finger pointing to your name. With his last ounce of strength, he told us you killed him." Bellick is scared into telling the truth: "Geary and I found Bagwell at Hollander's house. We roughed him up 'til he told us where he hid the $5 million we knew he dug up in Utah. When we found the money, Geary double-crossed me. He hit me in the head and took the cash! I had nothing to do with Geary's death! Do you know what I'm saying? I'm the victim here, not that son of a bitch!" Standing in for every viewer who has ever been unable to suspend disbelief over this show's plot developments, Slattery rolls her eyes so hard, she nearly pulls something.
Kellerman's walking out of a hospital, presumably having been treated for his steam-pressed chest. How disappointing that we didn't witness the scene in which he attempted to pass off his seared flesh as an ordinary household mishap. But the point to this scene is that Kim's putting the heat on him now, demanding that photo of Dr. Sara's dead body. Kellerman stalls, "Bill, there was a tactical error," but Agent Kim's not about to be deterred. "I don't want terminology from the cover-your-ass handbook! What happened?" he demands. Wait, wait, wait -- let's go back to the Cover Your Ass: A Handbook idea. Does such a marvelous tome exist? Does it address covering your ass on the domestic front ("Who left the salmon out on the counter overnight?") as well as the professional front? Does it include chapters on covering your ass at family get-togethers? Because I'm thinking that there's a market for Cover Your Ass: A Handbook. Anyway, Kellerman walks out of the hospital saying, "There were unforeseen circumstances, things that could not be predicted," and that suggests the first chapter in Cover Your Ass: A Handbook is titled "The Passive Voice and You." Kim forces Kellerman to admit that Dr. Sara's on the lam, then pushes his mobile phone closed in a gesture not unlike that of a guillotine chop. Kellerman hangs up the phone and reflects on how his bad day just keeps getting worse.
Speaking of the good doctor, she's camped out in a bathroom stall. Fortunately for her, the junk in her purse mated, then gave birth to a book of matches and a sewing kit. She's using the matches to sterilize the needle, and is trying to work up the nerve to stitch her cuts. You know what would go well with this procedure? Some dope. Just a pinch, really. Fortunately for Dr. Sara, there's none on hand, so she won't have to deal with a relapse on top of everything else she's going through. Also fortunate for Dr. Sara: that despite spending all that time underwater, her makeup stayed on. It would be a real tragedy if she had to endure sewing herself up while not wearing mascara.
Meanwhile, Michael and Linc are still sitting by their father's grave. Oh, Sucre must be stroking out from frustration by now. Michael then flashes back to ten minutes ago when he was busy promising Aldo, "I'm not going to let you die." And then he flashes back to Aldo telling him that he loves him; those were apparently the elder Burrows's last words. Michael finally speaks: "Too many... too many people died because I wanted you to be free." It all depends on how you're defining "too many" -- are we talking a range of one to ten, or a range of one to one hundred? Lincoln tells Michael that he couldn't have anticipated this, but Michael's too busy marinating in guilt to notice. He continues, "They wanted... they wanted him in the ground, and they got their wish." Linc tells him, "This thing's not going to end here, Michael. It's going to keep spreading. Their hands are going to get more and more bloody." Michael then brings it all back to him, him, him with, "The only question is, is the blood on their hands, or ours?"
Mahone's driving and shouting, all dorked up because he thinks he's about to shoot Scofield out of the sky. He also orders some hapless flunky to "call Mexico, get clearance for an international pursuit" and honestly, if I were the Mexican official on the other end of the line, I'd be all, "You people want to come down here? Fine. But you have to re-enter your country by swimming across the Rio Grande."
The little white plane that's supposed to take the boys to Panama swoops in and lands on a deserted stretch of road. It turns around again in preparation for take-off, and Sucre trots on over. As he jumps into the plane, he calls, "Come on, guys! Guys?" Both Michael and Lincoln look like they're not about to go anywhere. Sucre's all, "Huh?" and Michael says softly, "We're staying."
Shocked -- or perhaps realizing that the only way he'll be able to hear Michael's lines is if he stands really close -- Sucre jumps down and strides over to see what's going on. He protests, "Michael, this is what we've been waiting for." Michael smiles slightly and replies, "Maybe we'll see you down there somewhere." Sucre grins and says, "I can't talk you out of this one, can I?" At what point has Sucre ever talked Michael out of anything? The two guys hug, and Michael tells Sucre to be good. Sucre says, "Thank you, Michael. Thank you for everything." When he goes to shake Linc's hand, he asks, "You take care of him, okay?" As Sucre dashes off, Michael tells him to "fly safe, Papi," which I am going to pretend means "Stay alive! I will find you." Sucre bids the brothers to "give them hell," and then he flies off. Sniff!
As the plane heads off, Linc muses casually, "Panama would have been good." Michael asks him, "Are you ready for this?" Lincoln says, "I've been waiting years." Michael replies, "I'm glad to hear it. Because today's the day we stop running."
And then I spend the entire commercial break wondering exactly how many of Michael's tattoos have just been rendered irrelevant now that he's trashed his entire escape plan. On the bright side, at least he still has his legs, in case he feels like encoding his elaborate plan somewhere.
Sucre's plane is still taking off when we get back from the commercial break. Linc is all, "Okay, Master Planner. What now?" Michael's genius plan: "We go back to the car, drive to a border town, find a cell phone signal, call a local tattoo artist, tattoo a new plan on me. After I've recovered from that massive ordeal, we can get started." Oh, not really. He's planning on calling Dr. Sara. This is like a two-for-one deal for him: any awkwardness he might feel, he can totally ignore because now he's back to needing Dr. Sara for how she can help his brother.
The plane is still ascending, and Mahone happens to see it as he's tooling down the road. He is so stunned by the sight, he has to whip off his glasses and goggle incredulously with his naked eyes. Mahone screams at nobody in particular, "Where the hell are those jets?" Having a dance-off brawl with the Sharks? ... What, wrong Jets?
Lincoln and Michael are driving along the road when a low, sonic rumble starts up. Michael asks Lincoln, "Do you hear that?" Of course he does -- the man's got eardrums sensitive enough to pick up a spent bullet casing two rooms away. Linc pulls over just in time for those two to see a jet go screaming across the sky and right toward Sucre's plane. Michael's all, "They're going to take him down. How'd they find out?" Via that guy y'all shot and left alive? Remember him? Then Mahone's car purrs as it pulls into view, and Lincoln's like, "Less gaping, more driving."
Back in the Tribune police station, Bellick's pacing around impatiently. When Slattery comes back in, he says belligerently, "I want to know what the hell's going on. If you were going to arrest me, you would have already done it. I'm out of here." Slattery tells him that's not really an option. Bellick points out that the receipt is hardly the smoking gun in this case, and Slattery's like, "True. So let me play you that voicemail wherein you vow to gut Roy like a trout." And with this scene, everyone in America learns a valuable lesson: always use a voice alteration program, and don't leave your name, when you call in death threats to those who double-cross you.
Bellick protests that he didn't kill Roy Geary, and that T-Bag set him up. As he shouts, "Bagwell set me up!" a few cops wrestle him and clap him in cuffs. Slattery begins reading him his rights. Good thing there's no crime lab to determine that the timeline for Roy's death more or less matches the time Bellick spent in the hospital, huh?
Night finally falls. Kellerman calls in to President Reynolds's office, and the operator says, "I'm sorry. This administration isn't familiar with an Agent Kellerman." Ah, but he's familiar with the administration. He says, "June, it's me. I need to speak with Caroline, now." There's a long pause, so Kellerman adds, "June, if you don't put me through, Iâll make sure that the president knows you're the one who wouldn't allow me to provide her with some very important information. Put me through to her, now." A rattled June repeats, "I'm sorry. This administration isn't familiar with an Agent Kellerman." Kellerman slams down the receiver and calls Kim. He gets sent straight to voicemail, and leaves this message: "Bill, don't do this. I've dedicated my life to this country, to Caroline. Everything I had, I did. I've been a perfect soldier. I've never asked anything of you, ever. But I'm asking... Bill, don't do this." Too late! Bill is already instructing his lab monkeys to erase Kellerman from every photo and "make him a ghost." Our magnificent bastard is about to have a mid-life -- or is that no-life? -- crisis.
Out on the dark and lonely road, Michael and Linc are still trying to shake Mahone. Michael's also trying to get mobile phone service. He orders Linc to stop the car so they can head over to a radio tower and pick up a better signal. Lincoln asks, "What about your friend back there?" Michael shrugs, "If we're going to go down, we're going to go down swinging." Says the man who engineered an elaborate "If we're going to get out, we're going to go to Panama" plan? Linc turns around; Michael manages to call Sara. He grins to Linc, "We're in business. It's going through." Hands up, all of you who think he's just relieved to have an excuse to call Dr. Sara.
Unfortunately, before we can get to what promises to be an entertainingly awkward conversation, Mahone's car glides out of nowhere and T-bones the brothers' beater. There's a glorious explosion of the kind you see on TV -- lots of pyrotechnics, very little fatality -- and both brothers sort of fall out of the car. A couple feet away from Michael, his phone is ringing merrily, and he crawls toward it, whispering, "Sara." Unfortunately, right as he gets to the phone, a remarkably intact Mahone gets out of his car with his gun drawn. Lincoln is holding a forearm that is plainly broken, but he staggers over to protect Michael. (I have to give Dominic Purcell and the writers a lot of credit here; they have really crafted a solid portrait of Lincoln's feelings toward Michael without getting all showy with it.) Mahone has his gun trained on both men, and at the point where Michael is slumped in defeat, Dr. Sara picks up: "Hello? Hello, Michael? Michael?"
Alas, we will have to wait until week to find out how this conversation's going to go.