Mr. Pooler goes out to a transport ambulance on a gurney, telling Kerry that he knows how hard Carter tried to let him stay at County, and he really appreciates it. Kerry says that it's difficult with the HMOs, blah dee blah, and Mr. P asks her to send a message to his wife in the ICU that he'll call when he gets settled. Kerry tells him he can't call the ICU directly, he'll have to ask about his wife's condition at the desk. Mr. P thanks Kerry again for everything; as they load him into the ambulance, her face falls and she looks distressed. Again, I have to ask -- what exactly happened here?
Cut to Carter, walking outside with Mrs. Sobriki and asking, "How's Paul doing?" She says he's at Chester, which she guesses is "the main place for Illinois," although she doesn't say whether it's a jail or a psychiatric facility; she adds that they've put him on medication. She asks somewhat irritably what Carter wanted to talk about, and Carter gestures with his coffee cup and saying he keeps thinking about what happened; Mrs. S says, "You're not the only one," and says that at times, the voices in her head seem as loud as the voices Paul hears. "I lived with him, I slept with him, I'm about to bear his child -- how could I not see it?" she asks. "I dunno," Carter says, and they walk out of the shot.
Shot of the front end of the Carolmobile. Over the sound of the engine totally failing to catch, we hear Luka yell through gritted teeth, "Keep! Trying!" The camera pans back to Carol shouting, "I am trying, it's not starting," and turning to look behind her at Luka pushing the car. "Keep trying, it'll start!" Luka yells, still pushing. "'Keep trying, it'll start,'" Carol mimics, making a little face and turning the ignition some more. Finally, they give up. Carol storms out of the car and kicks it. "It's been an otherwise really nice day," Luka says. For a split-second, Carol looks like she might punch Mr. Bright Side in the stomach, but instead she slumps against the car and they both start laughing.
Cue Simon & Garfunkel singing "Bookends." I dislike the use of this song in movies and TV; it's too easy. Still, we see Mark and Holling on the top deck of Sam MacKenzie's little yacht, with their breeze in their -- well, in Holling's hair, and Mark has his arm around Holling as he leans on the railing, and Holling smiles and closes his eyes, and as the camera panned back to show the Chicago skyline, I misted up. Aw. We'll miss you, Holling.