Meanwhile, on the outside...Veronica's asking Nick, "This whole time, everything you said was a lie?" Nick says that he never stopped fighting for Lincoln, and unspools his sordid little story: Abruzzi and his crew approached Nick after he took on Lincoln's case and arranged for one of Abruzzi's crew to take the rap for Nick's dad: "I agreed to keep tabs on you. In exchange, Abruzzi got some guy named Aleuri to agree to do a life sentence for the murder my dad didn't commit. And that's how I got him out of jail." Veronica spits, "Your dad's life for mine." Nick idiotically insists that it won't be like that. What, is he thinking that Abruzzi's got a crush on Veronica and is too shy to pitch woo in the standard way? Nick insists that all that has to happen is that Michael gives Abruzzi what he needs to know. Yes, so Abruzzi can take off that burning need to forgive Fibonacci, no doubt. Veronica leans forward and asks, "You don't think they're going to let me live, do you?" Nick foolishly thinks they do. Veronica chews her newly-inflated lips. Then Nick prods Veronica with the gun, pushing her to her feet.
And now, Team Escarpara's going through the hole. Sucre lets them into the cell, one at a time, and as they head to the toilet, Michael hands them their jumpsuit. After Sucre drops the sheet, it's Manche's turn to go through. He eyes the hole with justifiable trepidation. T-Bag actually kicks him through, snarling, "Move your fat ass."
Bellick is still mmmphing for help.
As Abruzzi prepares to disappear down the rabbit hole, T-Bag snipes, "Age before beauty." Boy, he really is a lookist. Michael rolls his eyes. Then it's just him and Sucre. Sucre asks if Michael's got a key to the infirmary, and Michael hedges, "Not exactly."
What Michael does have is the deeply conflicted Dr. Sara. She's still standing on the shore of Lake Michigan, looking photogenically conflicted.
Team Escarpara's officially ten minutes behind, but that doesn't dampen the first flickers of enthusiasm. They hop into the pipes that will lead them to St. Louis.
Bellick is now trying to scrape the gag off his face. Team Escarpara's scurrying through the pipes. We see Bellick succeed in getting some of the tape off his face, and he bellows a long, long syllable that sounds sort of like "Guards" but more like "Aaaaaaaaaaaaaaaarrrrgh!" Michael stops short, eyes bugging out. Bellick manages the slightly more articulate, "Heeeeeeeeeeeeelp!"
Commercials. Maybe I'm all tense and testy from the episode, but how is the Jon Lovitz character in the "Subway Dinner Theatre" commercials not merely a sweatier, puffier, testier version of his character on The Critic? Also, have you noticed how The Critic is kind of like Family Guy version 0.9b?