The music comes on full volume as we cut to a prison guard supervising a work detail outside. The guard pauses to light his cigar and the two brothers creep up behind him and prepare to clock him with a shovel. Kevin Dillon hesitates, so Billy Burke shoves him out of the way and does the guard. As the shovel connects, the music abruptly stops.
Cut to a man smashing through a plate-glass window in a storefront and hitting the sidewalk. Karen calmly walks out through the now broken window and puts her foot on the guy's neck. Then she answers her cell phone to hear that "the Solchaks just broke out." Karen tells the guy, "You've got to be kidding." So the formerly anonymous brothers are the Solchaks.
Karen walks down a prison hallway in front of her now-in-custody- but-formerly-being- shoved-through-a- plate-glass-window fugitive while talking to her father on the phone. Marshall says she's late, and Karen says that's why she was calling. Marshall is on his boat, and he starts talking about how they need to name it. He'd like to name it Max. Karen tells him that boats are supposed to be female, and also that she can't meet him because the Solchaks have busted out. She reminds her father that the brothers tried to rob a bank five years ago, but that there was "an incident with the dye packs," and the boys were busted two blocks away in a Laundromat trying to wash the money. That was a perfect opportunity for a bad money-laundering joke that the writers didn't take, and I thank them. Marshall calls the boys "a couple of plateheads," and says that he thought Karen was going to take time off, since he's taking his first vacation in seven years to celebrate his boat's maiden voyage. Karen walks past a line of prisoners, and every one of them checks her out, but she totally doesn't notice. I like that she's hot, but it doesn't seem like she tries really hard. Marshall sighs and tells her to go and get the Solchaks, because the last time they were on the outside, they "blew up half of Miami." Karen says she knows, and hangs up.
Karen pulls up outside a trailer decorated with lots and lots of pink flamingos. She approaches the door and calls out for Mrs. Solchak, identifying herself as Karen Sisco. Mrs. Solchak (played by Rhea Perlman) comes to the door wearing a pink waitress uniform not seen since Flo and Vera were kicking it diner-style and asks, "The boys?"
Meanwhile, the Solchaks are busy boosting a laundry van. Merle (formerly Billy Burke) tries to hotwire it while Bob (Kevin Dillon) looks through the back for some appropriate clothing to replace their orange prison jumpsuits. Bob excitedly shows his brother that he found some baseball uniforms in the back, which he thinks is appropriate since they will be stealing a baseball. Merle isn't interested. Bob tries to repeat himself, and Merle says that he gets it, but that he's not interested. Merle gets the truck started, and the radio sparks into life. And it's playing Lynyrd Skynyrd -- this time it's "Sweet Home Alabama." I love Skynyrd as much as the next gal -- probably more, actually -- but couldn't they have gone with some a little less obvious like "Tuesday's Gone" or my personal favorite, "The Ballad of Curtis Lowe"? Then again, they could have played what is not only my least favorite Skynyrd song but possibly my least favorite song of all time, "Ooh, That Smell." So thank God for small favors. Bob follows the band's musical admonition to "turn it up," but Merle insists that it's just a coincidence. Bob seriously mispronounces, "Cum hoc, ergo propter hoc." Merle doesn't understand, so Bob explains that it's something Homer told him in prison, which means that there are no coincidences. Well, it does mean that, but it's a logical fallacy. It is the false assumption that because two events occurred at the same time, they must be related, or that one event caused the other to happen. So it's ironic that Bob uses it to explain everything in this episode, see? Bob starts playing air guitar and suggests that they call their mother. Merle curtly says that they don't have a phone. Bob's Pete Townshend-esque windmill arm action knocks open the visor, and a cell phone falls out. Merle stares at it, unbelieving. The truck takes off, still blaring the Skynyrd, with one rear door hanging open because that won't attract any undue attention. Also, even though Merle had totally stripped to the waist a minute ago, he's suddenly wearing the full prison uniform again. Bad, continuity people. The truck says "Sylvio's " on the side, and I only mention it because it's important in a minute.