Dana's at her desk, calling out an update to Chloe on how the tunnel radiation detectors are showing up clear. Chloe is loudly bitchy to Dana about the bridges, and after a round of competitive technobabble that Dana loses, Chloe gets up to talk to her face-to-face, acting sympathetic. "I just want you to know I'm glad you didn't get fired or anything. Hang in there." Dana stiffly thanks her and she returns to work. How's that role reversal taste? To cleanse her palate (and make the rest of her feel dirty while she's at it), Dana gets up to check with Arlo on the status of the aerial scoping. Arlo says the drones are covering the waterfront with their radiation detectors turned up to eleven. "If they try to bring the fuel rods into the city by boat, we'll spot 'em. Easily." For some reason Dana lingers instead of getting away from him as soon as she can, which gives him an opening to apologize for squealing on her to Cole. Dana tells him not to worry about it. "So is he gone?" Arlo pushes, meaning the other guy. Dana says he is. "So you and the Boy Scout are okay," Arlo says. Which he takes as license to start hitting on her again. What's even grosser is that results in the closest thing to a smile that we've seen from Dana since midnight. It'll be interesting to see whether Arlo ever gets in trouble for covering for them during their absence. By which I mean annoying, because I suspect the answer is no.
At 2:15:46, Marcos is still busy with his electronics project, while Kiefer watches helplessly from outside the anteroom. Owen comes up to tell him that the intercom is working again, so he can have a talk with Marcos. With CTU and Ali monitoring from their respective positions, Kiefer heads into the anteroom to address the video intercom. He introduces himself, and says he knows about the original plan to take the rods back to the IRK to get its nuclear program started up again. "So I'm just guessing that helping to deliver a dirty bomb to New York City which costs the lives of tens of thousands of people wasn't exactly what you signed on for." Kiefer says Marcos will kill the IRK by forcing Taylor to hit back hard. Marcos has stopped his fiddling and now lets himself be drawn into a political debate. He claims Hassan is giving up without a fight. Kiefer says Marcos couldn't win that fight anyway. "The IRK will sustain massive casualties because of this. Because of you." Marcos goes on about American nuclear arrogance, and Kiefer reminds him that Marcos is an American himself. As for Marcos's father, Kiefer says, "This is no way to honor his memory." He begs Marcos to open the door, but Marcos is adamant. "I came here prepared to die," he says. "And that's what's going to happen." He goes back to work on the detonator, ignoring Kiefer's entreaties to speak further. Almost immediately, he's gotten a second LED on his vest to light up. It's 2:18:46, and obviously those LEDs are also wired to whatever triggers the commercial breaks.
At 2:23:04, Tarin and Kayla are still in bed, and still in what might charitably be called a post-coital glow. Or if you wanted to be less charitable, you could say that Kayla looks as if she was just sprayed down like supermarket produce. Tarin is just finishing a phone call with a friend at the State Department, who says he can get them political asylum. Tarin warns that it might take twelve to eighteen months. "But as soon as we file the application, we are protected by the law. Your father cannot touch us." There's some talk about how they're going to live while waiting for it to happen, which of course Kayla says she's doesn't care about. They go back to macking, until Kayla's phone rings again. Apparently she hasn't been taking her mom's calls either, on Tarin's advice, although now she says she should. "She deserves to know that I'm all right." Tarin playfully takes her phone, and says she can call back after their application is filed. "Bye-bye," he says, tossing the phone away so they can make out some more. He's totally going to get her grounded.
Speaking of Kayla's mom, she's walking through the U.N. building as she leaves the latest of what sounds like an increasingly worried series of messages. She hangs up just as she spots Hassan at the end of the hallway. They walk into the elevator together, and Dalia brings up Tarin's arrest, of which she has heard and of which she does not approve. Hassan sheepishly says he didn't know who to trust. "I had to do something," he says lamely. Dalia says he's one of Hassan's most loyal men. "So was my brother," Hassan whines. "Or so I thought, until he tried to have me killed and destroy my government." Dalia says Hassan's well on the way to accomplishing that himself. I'm still not clear on what changed Hassan's mind about Tarin in the first place. I just hope it's something other than story reasons. As they get off the elevator and walk across the hall into their residence, she asks if the police are involved. Hassan says they're about to be, as Nabeel, posted at the door, closes it behind them. They stand at opposite ends of the giant window, staring out at the overlit matte painting outside at 2:26:06. After a long silence, Hassan says he's sorry. "As you should be!" she snaps, blaming him for the fact that their daughter is out in a city that's under threat. "You drove her away with your suspicion and your paranoia!" He cops to it all, and promises to change and to do everything he can to get Kayla back. They hug it out. I think we're supposed to be pulling for them to get back together, but I also think I'm a little too scared of her.
Marcos's mom has just finished packing when there's a loud knock on the door of her apartment. Without opening it, she asks who it is. Cole holds his badge up to the peephole and tells her to open up, saying it's about Marcos. He quickly gets tired of her stalling and threatens to break the door down. When she takes it off the chain, armored CTU agents run in, scaring the crap out of her. Cole takes charge of Elaine while they start sweeping the apartment like they're going to find Marcos in there, asking if she knows where her son is. Of course this is a question they already know the answer to, which is what I call a James Lipton. She truthfully says she doesn't. As far as his contacts with the IRK, she doesn't seem aware of anything beyond communications with family there. Cole suddenly spots the packed suitcase on her couch and asks, "You going somewhere?" I feel like I've already recapped this scene this week. Elaine says she's on her way to her sister's house. "You do that a lot?" Cole asks. "Take trips to visit relatives at 2:30 in the morning?" Elaine tells Cole all about Marcos's call last hour, and we also learn that Aunt Shelly lives in Pennsylvania. Now that she's told all she knows, Cole tells her what he knows: "Ma'am, right now your son's barricaded himself at St. Julian's hospital, trying to blow himself up with a suicide vest." Way to break it to her gently. She freaks out and sinks onto the couch, but Cole says there's no time for that and drags her out. It's 2:29:05.
At 2:33:23, Dana enters Hastings' office to report that Cole checked in and is on his way. Hastings rudely interrupts her to ask Cole's ETA, and she says under ten minutes. Hastings dismisses her, but she stupidly wants to talk some more right now, because wouldn't it be awesome if he asked her where she was now that they're in the privacy of his office? She apologizes again, saying she knows she let him down. "Yes, you did," he says, looking at her for the first time since she walked in. Hastings wonders if he was wrong about the awesomeness he saw in her before (I clearly was). He says that he doesn't want to lose her or Cole. "You're both valuable and everyone is replaceable." Dana says that she and Cole are both ready to accept the consequences for their screw-up. Hastings nods like they're coming to an understan