PB_S2E10_CC_0320 ===

Paul: [00:00:00] Hi Paul. Hi Sarah. Hi.

Sarah: Um, this is a big episode.

Paul: Yes, it is.

Sarah: All de vu. The whole thing is in French. Oddly. Yes. I

Paul: know. It was so challenging for us to learn all that French. Yeah. Yeah. It was a lot.

Sarah: Um,

Paul: with a gun. With a gun. There's so much, uh, to talk about. It was very exciting for me. Um. Well, we can talk about it when we get there. There's a lot of exciting first time things for me as an actor.

Sarah: Oh, [00:01:00] okay. I wanna write that down too. Um, first time things, uh, it was also a gross episode. Oh, there I spent more time.

Paul: Yeah. Usual. Maybe the grossest

Sarah: just being like, didn't wanna see that, didn't wanna see that. Uh,

Paul: all, all surrounding Gary Beek and, and TBA Bagwell and, I mean, there's, there's forced defecation, there's torture, there's limb pulling with stitches,

Sarah: there's getting beaten about the head with a meat tenderizer.

Paul: Yep. There's that, which is also, uh, and some hot pokers. Hot pokers. It's really, really something.

Sarah: Yeah. Lot going on. Let's, uh, let's do the index. Alright. It's just us this week because I figured this episode and probably the next one

Paul: we've got a lot

Sarah: to talk about. There's a lot to talk about. So, um, and there's some really great fan questions this week actually.

Okay. Because it's something a couple days ago, so we'll make sure we leave [00:02:00] room for some of those, so, okay. Okay. Palestine Index, uh, this is episode two 10, vu. It aired, uh, on the 6th of November, 2006. It was written by one of our regular writers, Karen Usher, who out grossed all the boys, um, directed by Dwight Little.

It was actually Dwight's second episode. He did one 10, uh, back in season one. He would go on to do another episode in season two and then two more in season four. So he was very much sort of, uh, in our mix and in the Fox Studios. Um, stable two. Yes. He came from Bones, I think he did, what is this? 23 episodes.

Wow. Of Bones, which is, that's. A lot. That's a lot of bones. This episode, um, drew 8.63 million live viewers in the 8:00 PM time slot against deal or no deal on NBCA rerun of how I Met your mother on CBS and over on a B, C. They were hosting the 40th annual CMAs, the Country Music Association

Paul: Awards. Did you, did you win that year?

I can't remember.

Sarah: [00:03:00] No, no. I, who beat you? Uh, Beyonce. That tri,

Paul: that Trisha Nice. Beyonce. All right. To recap episode two 10. Ready?

Sarah: Yes.

Paul: Michael and Sarah find each other in New Mexico, but Mahome finds 'em both. They lure him into a trap and Sarah tends Michael's wounds and expresses their concerns about him letting teabag into society.

Teabag is being tortured by Be and Gary, who seems swallow a key, retrieve it using laxative thick and find the locker. It opens only to have Gary double cross Eck take the money for himself. Meanwhile, Lincoln and LJ get into another car wreck, but this time it's link's long lost father come to the rescue, but they're all betrayed by a mole who reports the whole thing back to Agent Kim during all of this CRA trying to unsuccessfully contract Mary Cruz Oh, and Kellum and find Sarah.

Sarah: Um, by the way, when we get to trying to translate this into other languages,

Paul: oh, that's not gonna go good.

Sarah: AI is going to. Hate you.

Paul: Come find me and kill me. Come find you and kill you.

Sarah: Um, in world events this week, [00:04:00] Saddam Hussein, leader of Iraq was found guilty of crimes against humanity and sentenced to death by hanging.

Also this week, uh, the first Muslim was elected to the US Congress, Minnesota representative Keith Ellison.

Paul: In pop culture on Halloween, the founders of Reddit sold the online social network to Conde Nast for $10 million just 16 months after creating the website. That's a pretty good return. Yeah.

Reddit's current market valuation is in the multi-billion dollars. Also a good rate of return. Yeah, yeah. Also, this I don't, does Conde Nast still own Also this week's Snoop Dogg charged with a felony possession of a deadly weapon at John Wayne Airport in California. I believe that's Orange County Airport.

The weapon in question was not his killer flow, but a collapsible baton. Paul's laughing

Sarah: because I wrote that and he just realized that the joke was that bad as he was saying it.

Paul: Yes. And in art news, Jackson Pollock's Canvas number 5, 19 48, became the world's most expensive work of art after David Geffen founder, co-founder of Geffen [00:05:00] Geffen Records and Dreamworks, SKG, sold the Pollock for 140 million.

Dollars.

Sarah: So the upshot is that at the time they thought that Jackson Pollock's painting was worth more than Reddit. Probably true. I think I agree.

Paul: Fascinating. Yeah. I'm okay with that. Okay. Uh, okay. Let's take a quick break.

Sarah: We'll be right

Paul: back and we'll be

Sarah: right back. Talk about the episode.

Paul: Welcome,

Sarah: welcome

Paul: back. Oh my goodness. Okay. Welcome back. Listen, listeners, new. So many notes.

Sarah: So many notes. Um,

Paul: Sarah, first of all, I wanna start, I I want start here. Okay. You are, after talking about how good you are, doing nothing, like looking at paper cranes and alleys and going through numbers, phone, book, acting.

This is, uh, this is not You, you guys together. It like, it, it, it also, you're both excellent [00:06:00] actors, but also thanks. And this is the kind of thing that you just, you know, this is why, uh, television could be wonderful is 'cause when a, when a when a relationship pops, the audience wants more of it and the, and, and the writers creators can tease it out as long as they want and then put them back together.

Mm-hmm. I mean, the will they, won't they, Sarah and Michael mm-hmm. Has been, uh, simmering. I mean, this is episode, they have not seen each other since episode 22

Sarah: in maybe 90. Even in, I don't don't think, we didn't even see each other in 22, I don't think. Okay. They've not been in the same

Paul: room. Yeah. Since season one.

Right. Since season one. And for the audience, that's like a year. Yep. So this is just an incredible tease. I'll also say the scene, both all the scenes, but particularly the scene where you find him and he gets outta the car, which is beautifully shot. I love that it's both from a little bit of a distance on a long lens, and then even the closeups are long lens.

Mm-hmm. Making you [00:07:00] guys feel kind of, even though you're outside, like in a bit of a bubble. Mm-hmm.

Sarah: Mm-hmm.

Paul: Um,

Sarah: it also meant on the day they weren't right up in our faces. So you felt like you were alone,

Paul: and I would imagine it was cross shot, meaning you were doing both your sides at the same time. You probably can't.

I don't know if, did we do that?

Sarah: I don't know. We had multiple

Paul: cameras. We

Sarah: had multiple cameras. I don't honestly know. I mean, it,

Paul: I don't know why you wouldn't, there wasn't a lot of lighting when you're outside Right. To be done. So if you're outside, yeah. Maybe. Anyway, um, I, and this is something we'll talk about as the season goes on, because it applies to other things, certainly in some of, uh, my stuff.

Mm-hmm. I think it could be intimidating to do those scenes because as an actor you feel the pressure

Sarah: mm-hmm.

Paul: Of, oh my God, it's all been leading to this. Yeah. And it, it sometimes it, it becomes hard to stay in the moment you get caught up in how it's supposed to look or sound or feel. Mm-hmm. And if you're not emotional in the right [00:08:00] way

Sarah: mm-hmm.

It

Paul: sometimes it's hard to let go. I, you guys both seem so present and connected to one another that it really just, it just plays wonderfully

Sarah: well.

Paul: Do you remember, first

Sarah: of all, thank you. I, you know, I remember that scene

knowing that there was a lot on it. Um, yeah. I think Wentworth did some rewriting on the day. Mm-hmm. Because I remember

we were working on it together and. I asked for, I was like, I need a few minutes to learn these words, Uhhuh, because, you know, they were, they were different words on the day than I had learned when I'd come to work. And we just took ourselves away out into the, it wasn't really desert, but whatever that landscape was.

And we just ran it and ran it and ran it and [00:09:00] ran it. And I didn't know anything about television directing at the time. I give Dwight little, a huge amount of grace, um, amount of thanks for giving us the, for having the grace to give us that time and not just sort of be like, Hey guys, we gotta move on. We gotta shoot a bunch of stuff.

I don't remember anyone ever rushing us first ads or anyone, but I think because of that,

by the time we were doing it on camera mm-hmm. It felt like we'd been able to get back to. The scene and away from all of the, like the writers calling and being like, Hey, this is gonna be a thing, you know, we wanna see this, we wanna, whatever. Yeah. Um, and also, you know, something that I noticed about myself as an actor years later was that I plug into the other person's energy in a [00:10:00] scene, but I very rarely set the energy in a scene.

And I think that's maybe partly just, I, I honestly don't know what, what it comes from, but I remembered, I, I noticed it on Walking Dead because Andy and John have radically different energy as actors and as people. And I would take on a different energy in the scene and I was like, oh, I don't set this energy.

And so Wentworth's take on this moment. Mm-hmm. Was. This is not a sort of like, oh my God, run outta the cars. Embrace I, you know, like I'm sure there was a conversation about do they kiss And I am relatively sure that before I even had an answer out, he was like, no.

Paul: And so I can't imagine frankly that the writers wanted that either.

But, go on.

Sarah: I'm not sure. I'm not, I, I'm, I'm not sure. Okay. I, I think there was, I think there was a push for something physical, some kind of embrace or something that I think we both like really kind of resisted [00:11:00] all by way of saying that I think went really sent the tone.

Paul: When he would rewrite a scene like that, would he re rewrite your.

Stuff too. No, no. He'd say, I would like to say this. Yeah. What would you say? He'd be like, this

Sarah: is, this is what makes sense to me. Well, most of it was, this is what I'm not gonna say. This feels like I can say this to you with my face. Sure. You know,

Paul: um, the, I would also say, and I know you were talking about the process, you know, when, when, when it's kind of, I mean, there are times where it's appropriate, most of the time it's inappropriate on the day in television to be like, we need to work on this scene right now where you're like, well, we're here on the day and this is mm-hmm.

A rough time to do it. But depending on how the schedule is, and also as number one and two on the call sheet, it's like kind of your prerogative number one, like

Sarah: seven. But yeah.

Paul: Okay. But I, if you don't do it if, if you don't do it all the time mm-hmm. Um, it's obviously important. Uh, again, kudos to whoever the first ad and Dwight little for taking the time to do it.

Mm-hmm. I'll also say. And we mentioned this during the [00:12:00] watch, that scene is not rushed.

Sarah: No. Not even in the cutting of it. Uh,

Paul: no. Yeah. And that is, I'm so impressed. I mean, for a show that really is like moving story at a very fast pace. Yeah. And just kind of hitting the fact that they then slow it down to take the time mm-hmm.

To milk what everyone's been waiting for for so long. It's, frankly, it's very satisfying. Mm-hmm. And, you know, we had a good laugh on it because we're ironic assholes, gen X assholes. But you know, her like Panama, like this is the. She's not, you're not obviously playing it for humor, but the kind of in, uh, incre, I never know if it's incred, incredulity or incredulousness of

Sarah: either.

Yeah.

Paul: I need to know what the plan is and

Sarah: Yeah,

Paul: the plan is, you had a great line reading where you kind of stumbled over the two most wanted men in [00:13:00] America. Like, that's the fucking plan dude.

Sarah: Um, because clearly the, the detail of his plan to get out of Fox River was a mastermind level, and it's like, but you're, well al also your plan to get out of America is we're just gonna go sketchy.

Paul: Also, you know, Sarah is look out of, you know, from Sarah's perspective, she put her faith in this guy. She got burned. Mm-hmm. It got her in a fucking boatload of trouble. Mm-hmm. Her father's dead now. Someone's trying to kill her, and she thinks she may be in love with this guy. Mm-hmm. But, you know, she really questions her own barometer on things.

Obviously, she's a recovering addict. She trusted this guy who got burned like over and over and over again. Mm-hmm. Except he has offered her this lifeline, which is, there's an answer to all of this. Right. And like what, like when you're in deep trouble or you're in a [00:14:00] bad place in your life, and if somebody's says, you know, this one key mm-hmm.

Fixes the whole goddamn thing. Yeah. And you can be with this man that you might be in love with. You're like, great. And then you, you waltz into that. And the answer is,

Sarah: we're gonna run to Panama. We're gonna

Paul: go to Panama. Pan Panama.

Sarah: I, yes. And I think, I mean, there's a couple things. The, the obvious ones are trusted him.

He obviously didn't know that I was an addict and I landed in a relapse. My dad died.

Paul: I don't think it would've mattered to him, but Okay.

Sarah: But then, well, I don't know with his conscious, like we talked about this a little bit at the end of last season, but I, I do think it genuinely comes, this is a prize to him that his actions result in her relapsing one way or another.

Sure. I think, and also he

Paul: seemed emotional about the fact that your father had died

Sarah: a hundred percent. But also he was right about Lincoln being innocent. You know what I mean? I think like he has [00:15:00] proven himself in some ways, which is, well, you said my brother didn't do it, and that actually he didn't. The evidence is there.

And so I think the question is not, is he trustworthy? I think maybe we've sort of established he is. The question is, are you safe? Can I,

Paul: well, also, right, but also, yes, trustworthy and also, you know, God, a plan to fix this. Sounds wonderful. Right. Right. But it's a little bit of a, not, it's not a bait and switch, but it's like that's not much of a plan.

Sarah: Well, and I, I also think what's, what's also, and I, this landed to me in a new way watching the scene in the car where she decides to come back and kind of going through with, well, why did you leave? And then why are you coming back? What's the switch about? She never says to him, there are people trying to kill me.

Right. She never tells him that. In addition to people coming after you, they're coming after me and they're probably the same people. And so probably say people, I think it's [00:16:00] possible that part of the leaving is we might be able to survive this individually together. We draw, like I put you in more danger by being here because there are people coming after me.

Paul: Oh, well. And also what do you know that like, I like, you'd also be like, okay, hold on Bruce. You know, my dad's right hand guy. He's in on like, what? I think my father was killed. Like what? Who set Lincoln up? Like you guys are now in that, in that space together. Right. And also, you know, those baby blues man.

Sarah: Well, I mean, as ever, I think it's more a scene about what's not said than what's said and what's not said is so huge. The whole, not the scene, but the whole arc together. And I think in some ways the decision in the car is a decision to go, we should actually talk more of this out. Like

Paul: I, [00:17:00] it's also like, what is her, you know, it's also kinda like, okay, she gets in the car.

Where you going now what? Like what are you gonna do? Yeah. Like you're kind of out of. In a way, like you're outta options. Yeah. And you're, you're putting your foot down, like I've made, like you say in the note, right. I'm gonna make the right choice this time. But on its face the right choice and in reality

Sarah: mm-hmm.

Paul: Like the real politic of that is not a lot of good options. Kind of gotta join forces with this guy. Well, it's love the fact that what's

Sarah: the next right thing to do? Right. Like, I, I I also love

Paul: that none of this is I love you, I need to be with you.

Sarah: Mm-hmm. Mm-hmm.

Paul: Like, that's, you know, he's not playing that card.

You are not playing that card. These people are too, uh, I know Too smart is the right, uh, way to put it. But, or too in crisis too in, well there's, I think, well I also think a lot of shows would just lean on that I, [00:18:00] you know, I have to be with you. Who cares? Yeah. Yeah. Who cares? We'll figure it out. Right? The, you know, these are these very pragmatic, smart people.

Um, and that's almost a. Secondary concern at this moment. Mm-hmm. Mm-hmm. It's really, it's just really well done. And like, I, I just forgot how deep it runs. I found it really, you know, really, you know, a show that that has, it's, you know, we talked about it a lot in first season, has a kind of a, at times comic book gloss to it, which is great and fun.

That like the fact that it can drop into this complex complexity. It's, it's a, a lot of it goes to the writing and the setup, and a lot of it goes to, to you and Wentworth together.

Sarah: But it was, I mean, the dramaturgy of the episode is a great one because it bounces between your heart and your throat for Sukra and just being so grossed out and like, the whole thing that's going on with teabag is so blah.[00:19:00]

That and, and Lincoln and LJ. Meeting up with his father and what does that all mean? And you know, they're going to jail. No, they're being saved. Like there's so much going on around these scenes that actually I think they're embedded in an episode in a way that buys us, uh, a lot of the choices that we made.

So I think it was really well constructed.

Paul: Yeah. I think that in the way that was it the last episode, that so much of it felt about like to be about familial bonds, right? About

Sarah: yeah.

Paul: LJ and Lincoln and, um, other things I'm not remembering properly. Suer Cruz, suer Cruz. Oh, uh, um, C note and, uh, his wife and daughter.

Like all those Yeah. Well, they werent in this episode, which is No, I'm saying the last episode. I'm saying the last episode. Yeah. Had to think this one. This one really feels like all our principles are really in the fucking wind. Yeah. Like everybody feels like they're in like lots of space. Yeah, [00:20:00] lots of danger, um, in a way that like all at the same time, I mean, it's, it's

Sarah: okay and let's, like when

Paul: you guys are outside, I'm like, Jesus Christ, get inside.

Sarah: Yeah, totally. You are so exposed. Hide. Hide. Um, and okay, so let's talk a little bit about the why that was in terms of what television was back in 2006. Yeah. We had something called November sweeps. Okay. Yeah. Yeah. And so sweeps happened usually twice a year in May and November. And they were, when the ratings from that were gathered by the Nielsen company would be kind of, um, it was usually, I think two weeks maybe.

Uh, the sweeps would be, and those ratings numbers would set the advertiser prices for buying ad sales ad space for the next six months. And so it was not uncommon. For shows to pull out all the stops to create [00:21:00] this sort of musty TV feeling about an episode around Yes. Sweeps. And so usually those couple of weeks would be, yeah.

Paul: Even on the comedies there would be

Sarah: Yeah.

Paul: Right. Huge. Like, oh, Ross and Rachel

Sarah: Yes.

Paul: Are gonna kiss. Finally

Sarah: Get together.

Paul: Finally get together. Like, and it was, it must, it was really like, this is what it's all been building for. And, and Prison Break did a smart thing. A lot of shows ended up doing, IIM recall Prison Break being one of the first, where there was kind of a midseason finale.

Yeah. And then we would go off the air for a few months. Yeah. Or a few weeks at least.

Sarah: Yep.

Paul: And it, it, it worked in two ways. One, it certainly gave the writers a

Sarah: catch up time

Paul: and, and post and production, all of us a way to, to catch up. But also narratively, there's something satisfying about when you have some huge.

End of the mm-hmm. It you don't, it's like, take a few break, take a [00:22:00] few weeks. Yeah. To let that be as big as it felt.

Sarah: Yep. And even to let audiences catch up on their DVR.

Paul: Oh, right. You know, and I think on, boy, it was a boon on residuals ohs, because they would show all the old ones. Remember making a living?

Yes.

Sarah: Remember when you could make a living Televis? I think

Paul: I know what the,

oh no, it can't be. I was gonna say, I think I know what the end of Bolshoi Blues is. 'cause I think that's 12. So that's the Midseason finale. Although 13 might be the Midseason finale.

Sarah: I'll be able to tell you. I can look. I've got a list of when everything aired. No, don't, don't. No, no. I'll tell you later. Um, okay.

But yeah, something else though that like as they're putting this sweeps episode together, they obviously wanted to move forward. The Mery Cruz and CRA storyline.

Paul: Oh yeah, yeah. Let's talk about this.

Sarah: So Camille Gati had another job.

Paul: Can we just go [00:23:00] back one second? Yeah. Somebody played Mery Cruz before Camille Gudy, right?

Sarah: Yeah. I think we talked about that last season. I remember there being two. Um, but certainly one, they recast the person who played her in the pilot,

Paul: but I, I also think for work reasons, but anyway, I might not know, but okay.

Sarah: Oh, you know what? I'm not entirely sure. Um,

Paul: let's go with that. It's cheer your story.

Sarah: It's fair enough.

Paul: Somebody getting replaced is Oh

Sarah: yeah. Tell me about it. Hard, hard.

Paul: So,

Sarah: uh,

Paul: um, anyway, it, this goes to, uh, that person got a job that they couldn't get out of figure. Right? 'cause she wasn't

Sarah: a series regular. Yeah. They didn't know they had the opportunity to go take other work. Yes. And so she was doing a show, wait, I think I wrote it down.

I think it was called the Nine Oh.

Paul: Camille was, I think so. Yeah. I remember the nine. Sure. And so they

Sarah: had to move that storyline ahead using Terea and using Hector and using all of these other people and, right. Um,

Paul: so you noticed she [00:24:00] wasn't in the we she wasn't at the wedding. She had just left.

Sarah: She hadn't been in all season.

Paul: Yeah,

Sarah: not all season. Um,

Paul: although they used a clip of her in this one, meaning she got a little money,

Sarah: she got a little paid. Um, so she will show up later in the season and we're gonna have her on and we're gonna chat with her. But as I was watching the episode, I remembered, I was like, oh, that's right.

There's this super important love story that they had to craft without one of the actors,

Paul: but frankly. You know, it works because, so it is, it is such a, uh, uh, what, like, negative space.

Sarah: Yeah. You

Paul: know, this guy had this, this like frustration that he can't get to her. Yes. It's like diss that we share.

Sarah: Yeah.

Yeah. It's

Paul: like a diss or like after hours. It's like, I can't, yeah. It's like the thing is always a few steps ahead, you know, and it's, it's just great. Like her absence is so brutal.

Sarah: It's so powerful. And I, if I remember right too, when she [00:25:00] comes back Mm. You're just like, oh, thank God. Like this. It's, it's a little bit of that Michael Sarah moment of like, yeah.

You know, the two high Sarahs the one from Michael and the one from you. Hang on. You had a, um, you said that you had a story about doing the car crash scene when you were on the phone with Reggie.

Paul: Um, I remembered this la from last episode. Uh, I got married, um. Oh my God, in no, October of 2006.

Sarah: Okay, so that's around No October, sorry?

Paul: October of 2006. Yeah, early October, 2006. Okay. So the last episode I remember leaving, I remember shooting a scene and like getting on an airplane to go to meet my friends for a bachelor party. I went back to Dallas to shoot, I think a couple episodes or maybe one episode. [00:26:00] And I specifically remember the scene where the, the car is in the ditch.

Yeah. And Dwight is telling me to run down the hill. Right. I run down the hill to see the crash, and then I have the phone call with Kim. Mm-hmm. That they set the car and we are there and like right before action. And my wedding, I think is the day, like I'm leaving that night or the next morning, and then the wedding is like.

You know, two days later, right. Holy, like a day later it's, you know, I'm flying back to LA and everybody's coming in. Geez. And them being like, okay, so here's your path down here, this side and this side is poison ivy and poison oak. And I was just like, if I get fucking poison ivy,

Sarah: oh my God, for your wedding,

Paul: I'm getting divorced before I get, you know, it's one of those things, it's like, no, it would not, not that she would be pissed, I'm saying I would be like miserable.

Yeah, right. Miserable

Sarah: also terrible wedding night. Be like, sorry. Terrible. Also, all of it, just like

Paul: the whole thing, like traveling. And I was just [00:27:00] like, oh boy. Oh my God. Okay. It was so, and I remember calling, calling my fiance and telling her that we had a good laugh about it. Um, was by the way I, but it was, I'm glad

Sarah: you didn't take a header into the Poison Ivy.

Paul: Right. And it was kinda one of those things like, I guess I'll know in a day I.

Sarah: One of the things that I was grateful for is that they let me not do hair. Um, a lot of this episode, Sarah's hair is just like,

Paul: I love that. It's like mess upon or whatever you call that. Yeah.

Sarah: And I remember asking for it. Um, and it was, it was, uh, Carl Bailey was the head of the hair department down there, I believe.

Oh, no, no. He didn't come on until season four. I don't remember. Carl, Carl came on season four. Um, he's amazing. I loved him so much. I brought him onto Colony. I, um, but I remember I was like, Hey, can I kind of do like a messy bun? And they're like, sure. And so they [00:28:00] did one in the chair and I was like, it still looks like tv, hair, uhhuh.

Can I really look like a real? And they were like, do you wanna just do it? And I was like, I do. Yeah. And so they just let me like do the thing that you do when you're at you. Well, it's so effective. I. At the time, I remember really wanting to push against that. The WB was really big though, the cw, it was really big at the time.

And there was this sort of like, no matter what, you have perfect hair and you have lip gloss and you have, you know, and I was like, can we not? And I was really grateful because there was no pushback from the people upstairs. Do you know what I mean? Like never got a call from the producers being like, can you look less?

Paul: Yeah. Can I just say one of the, I mean, I commented on it when we were doing the rewatch. I said, oh, you look really striking in, uh, one of those mirror shots. And I think part of that was that your hair's up, we don't see that a lot. But also you look, uh, I think it helps. Well, no, I think it helps that the, for the powers of beauty that you're like, yep, [00:29:00] still gorgeous.

Look at that face. Like it doesn't matter that your hair's not perfect, but it really does lend compared to the a little more polished look that was even. At the beginning of the season, uh, the distress and the

Sarah: Yeah.

Paul: You know, the quick movement, like getting outta the shower, your hair being wet like that, there's this constant unsettled feeling.

I think that's, I think that's great and I think it's a great choice on your part.

Sarah: I just was grateful that they let me do it. Um, you, you said something when we were doing the rewatch about a u-turn on camera.

Paul: Uh, we watched Mahome do a it's, it's always, uh, cool. A lot of these scenes or a lot on tv, sometimes.

We talked about this in one episode where, you know, they're, you're, you're going like this, but somebody the the car is on a trailer. Yeah. Sometimes you, what they call a free drive where you're actually just driving a car. Yep. Uh, and the first time I did that a lot was on a show in [00:30:00] Chicago called Turks, where I was a

Sarah: You played Turk A cop?

Paul: I played a cop, no, I was a partner of a, you know, David Cubit? The I do not Canadian actor. He was the, I do not, oh, it was his partner. Anyway. And, uh, the, I was, you know, right. Coming outta theater and I was just raring to go. And there was a scene where like, my character jumps in a car and like, it's an Impala, it's an unmarked police car.

And he like does a u-turn and like screeched off and they're like, we're gonna have the stunt guy do it. And I was like, what do you mean? I, I wanna do it. And, and Bob Singer was like, yeah, okay, okay. Big man. You do it, you do it. I was like, okay. Again, this is like blocking off traffic in Chicago on Wabash.

Oh wow. And like, okay, let's like do it. Right. And I did it. First time I jump in and I fucking, I do, and I, and I come around and I go to jam it into, and it just goes into neutral in the car stalls. [00:31:00]

Sarah: And everybody's watching

Paul: everybody. Everybody's watching. Everybody is watching. I'll also say, we probably shouldn't admit this, but once you would do a drive.

And then the picture car, they'd go cut and you'd just have to drive all the way around the block. Mm-hmm. Back to one. Mm-hmm. Is that we would just flip the lights on the police

Sarah: lights.

Paul: Uhhuh?

Sarah: Yeah. Guaranteed. That's not, uh, yeah. I don't think you can do that anymore. That's something you're supposed to do.

No, that's called impersonating a police car. It's called impersonating police. A police officer, uh, in an emergency as it turns out. Yeah.

Paul: Not great.

Sarah: Um, yeah, the driving stuff is fun. I, I used to get all sort of like. If you drive forward and then the teamsters are like, if you get, if you get out, I'll back it up and put it back on your mark.

I know for a long time I'd be like, I can do this, it's fine. And now I'm like, yeah, that'd be great. Thank you so much. Yeah. I, you know, yes. Thank you. Thank you for your precision and professionalism. Um,

Paul: yeah. Yeah.

Sarah: Uh, we also mentioned Kristen Lehman, who I think is worth mentioning because she, she's

Paul: really great.[00:32:00]

Sarah: I had met her the season before she was on a show for Fox called Killer Instinct, uh, with my buddy Johnny Messner and I think she was the female lead. She was, she was the second, uh, lead of the show. And I remember watching it 'cause of Johnny, and I think Shai McBride was on that too. Huh. And she was wonderful.

Love him. Like, she was just so good.

Paul: She's just so solid. Like as soon as she walks on camera, you're like solid.

Sarah: You, you believe her. Yeah. And she's somebody who can carry um,

Paul: yep. Authority.

Sarah: Authority without having to be like, I'm an authority. You know what mean? Like that's a trap that people fall into.

Yep. And she carries it well. And I think it's important for a lot of these sort of strong female characters on prison break that they carry that authority easily. And with relaxation now with tension. And she did, you mentioned Michelle Forbes too. And like they both just do such beautiful work. Um, and there's something about her and Dominic together that she's [00:33:00] got a little bit of a, like the whole time.

That, you know, that it, it's, I mean, it's scripted. Right. It makes sense. The first thing he does is, is punch her headbut in the face. But it's sort of wonderful. Yeah. And you get this sense that like, I don't know. I loved her work in it. I thought she was wonderful.

Paul: She falls right easily into the thing that, um, Kellerman and Kim both have.

Mm-hmm. Which is I know more than you do.

Sarah: Mm-hmm.

Paul: And I'm kind of like, you'll catch up.

Sarah: Yeah.

Paul: I'm tolerating you. I'm tolerating you.

Sarah: Yep.

Paul: Because I know that you're important to this mission.

Sarah: Right.

Paul: But all your questions are really stupid.

Sarah: Yes, yes. Uh, and

Paul: I'm not gonna explain it to you, but just Okay. It's exhausting.

And she, and he has the thing, you know, he's like his kind of, you know, link the sink thing. Mm-hmm. Especially coming against. You know, uh, a woman has a kind of like, almost built in [00:34:00] condescension. Like, she calls him LA he calls her lady.

Sarah: Yeah, yeah, yeah.

Paul: Like, why should I trust you lady? Right. And she's just like, 'cause she, she's not trying to convince him of anything.

Sarah: Yeah, yeah, yeah.

Paul: Right. She's just trying to keep him in a room.

Sarah: Yeah. I'm, I'm gonna try and keep you from hurting yourself.

Paul: Yeah. Not me. While we try and save

Sarah: you.

Paul: Not me. You. That's right. That's right. Right. 'cause you're more of a danger to yourself mm-hmm. Than anybody else.

Sarah: Yeah. No, it's a really nice, uh,

Paul: yeah,

Sarah: it's a really nice thing.

And as you noticed, um, I think we looked her up. She is in fact Canadian, so

Paul: Yeah. And doing a lot of directing now, apparently

Sarah: woo woo to more, um, Canadian writers. I feel like.

Paul: Well, you're all gonna be American soon, aren't you?

Sarah: Do not, do not, do not. You do not want to see that side of me. And you definitely do.

I suck. Cut out Canada. Have you ever seen a hockey game?

Paul: I saw the cutout the other day. It was like problem solved and it was Canada, but you know, nobody's like, oh, [00:35:00] add California, but add California. Went above the border, added Minnesota, went over, added the northeast to down to New York and up added it to Canada.

Uhhuh. I was like, oh, there you go.

Sarah: I, dude, the actual mayor, I mean, sorry, Chicago, the entire mayor of Point Roberts, which is US soil, but you can't get to it without passing through Vancouver, uh, or passing through bc. He was like, will join you guys. He's like, Oregon, Washington, California. He's like, we'll, just join bc.

Let's go. Let's do this. You

Paul: mean, you mean the fifth largest economy in the world? Yeah, that one. California.

Sarah: Yeah, that one. Um,

Paul: I mean, we don't have an army, but Okay,

Sarah: you, no, but we've got. We got brains. You said there was a Dallas Wentworth story, and then we can take a break and do some fan questions.

Paul: Um, it it, it, it just goes to, um, the, we were talking about the hats that you wear.

Sarah: Oh yes. [00:36:00] Yeah, yeah, yeah. The nondescript hats that in prison break make you invisible to bystanders.

Paul: Yeah. Wentworth and I spent a lot of time, uh, hanging out in Dallas. Mm-hmm. And, um, he was, you know, famous. Incredibly famous. Yeah. And didn't, you know, it was uncomfortable for him. And people were mostly inappropriate.

And I remember we went to a movie and I picked him up and we were on our way, I think, to a, like that mall. Mm-hmm. And he had a baseball cap on, and he was like, you don't have a hat. And I was like, no, he said that to you, Uhhuh. Oh, interesting. And I was like, no, I mean, I mean, I kind of get, and I was like, oh, right.

If I get recognized, then yeah.

Sarah: If they're like, you're Kellerman. Oh

Paul: my God. Yeah. Oh my God. Yeah, yeah, yeah. So we actually.

Sarah: Uh,

Paul: there was like a lids and I went and bought a hat. Of course there was. Yeah.

Sarah: Was it a hat without a logo?

Paul: No. Good, because it's creepy. Although I can, yeah. [00:37:00] Right. No. So no, I actually, I can't remember what it was.

It might have been a Ranger's hat. That was cool. Anyway,

Sarah: um, all right, I'm going to tell one quick story that I think we will cut. Okay. But it just occurred to me, it did happen while we were filming that scene. So it was hot. We were shooting the scene. Wait, the, you and we were seen outside the car, the rendezvous, the actual rendezvous uhhuh, and there were train tracks there, as we noticed in those, in that drink, original shot drink if you're playing the season two prison break drinking game.

Um, and they're very long. Weird series of events. I was currently writing music that I was recording at Goodnight Studios in Dallas for a producer named Gordon Perry, who had been Stevie Nick's mm-hmm. Producer back in the day. Ah,

Paul: I know this story.

Sarah: And well, the, I mean, the mirror story is a, I'll tell you the beer story.

Did I, did we talk about this at the show? I tell

Paul: this story [00:38:00] all the time. I didn't know who I heard from it. I thought maybe it was made up, but I'm so glad that it's real.

Sarah: No, this is real. So I'll, so I'll, we'll start with the Stevie Nick story. So my very first day, sorry, I'm totally interrupting you. No, no, it's okay.

And none of this is really germane to the show. We'll probably cut it all, but

Paul: cares. It's so good.

Sarah: So I'd been put in touch with, it's a long story, but there was a, a New Year's Eve a couple years before where somebody had heard me do some karaoke and had brought me to his friend's house because he was interested in finding some, uh, new people to sing.

The guy turned out to be Howard Lease, and so one thing led to another and Howard put me in touch with somebody who put me in touch with Gordon and was like, oh, if you're in Dallas, you should record some music. Yeah. So the very first thing he did is he was like, look, there's this Twine Man song. Why don't you write some new lyrics to it?

We'll record it and see if you know what you're doing. And he had his producer and a bunch of other people come and play music. Uhhuh. I have always wanted to get involved in music, although the music industry has always, um, struck [00:39:00] me as the worst thing imaginable. Yep. And I was like, let's go. So I show up.

Paul: It makes act, it makes acting look stable.

Sarah: Absolutely. It, it makes it look like the most well organized, moral, trustworthy place, um, on the face of the earth. So I show up and it's evening because we'd been filming prison break all day. And I get in there and I'm a little tired 'cause we've been filming prison break all day.

And the guy goes, do you want Stevie's mirror? And I was like, oh, what? And he goes, do you want Stevie's mirror? And I was like, I don't, do I want, do I look okay? Are we videoing this? Like, what's going on? He goes. Stevie's mirror. And what he's talking about is a Coke mirror. Yep. That attached to the microphone.

Paul: Like a pop screen.

Sarah: Like a pop screen. Oh, by the way, I never saw it. So I, you know, he, for all I know he's making this up. I don't wanna disparage No, no, let's go

Paul: with the trail.

Sarah: Um,

Paul: not disparaging,

Sarah: but what I did say is if you [00:40:00] have that, it belongs in the Rock and Roll Hall of Fame.

Paul: A hundred percent.

Sarah: And he was like, yeah, because the way you do it is, it's just like the white wind dove

Paul: right in between verses

Sarah: Ooh, ooh, ooh.

And I was like, dude, that's, and I was like, n no, I don't. I'm fine. Thank you. I, I'll

Paul: Unbelievable. I don't

Sarah: also. Several weeks after that I found out I was pregnant. And so also, thank God. Good thing you didn't use Stevie

Paul: S Mirror.

Sarah: Good thing I didn't use Stevie's. Also not good

Paul: for singing. Not good for your throat.

Sarah: I, that's what I hear. So anyway, we were sitting there and there was a long setup for the car chase because the car chase was a serious stunt. There were a couple actually in this episode, this episode had some really big car stunt work and they did it beautifully. And I had a lot of time and I was going into the studio later that week.

And so I started looking around and I kind [00:41:00] of wrote a song about who, a super toxic relationship. And the first lines were mistakes, like train tracks following neatly. Um, and it was a good line, good line, weird. Uh, it's not good song's not good. But I remember sitting there and if I ever find my season two scripts on the back of my script, I just sort of started like, and it's a very, very, it's a song about a very toxic,

Paul: uh, I love it,

Sarah: toxic thing.

The hook is really fucked up. But I, I actually think in some ways that song was sort of running through my head

Paul: amazing

Sarah: as it was almost like this is Sarah's inner monologue Anyway, um, so that was part of what I was doing with the Pete cooking my head in Dallas, um, while we

Paul: were there. That is great. I want to hear the song Please.

No, I'm gonna, no, I'll send you the crime cover. I'm gonna call you because that's a,

Sarah: that's a generally, that's a genuinely good song. Um, [00:42:00]

Paul: I wanna hear that too,

Sarah: just because they wrote the song and I didn't. That's what, that's what I'm saying. Like, they actually were people who wrote, I don't think I've heard you

Paul: sing much, so I would really like that.

Sarah: Uh, you actually may not, there might be a reason that you haven't. Um, I like listening to you sing more than I like listening to me sing. Anyway, let's take a break.

Paul: I hate listening to me sing.

Sarah: Um, do you know those plugin

Paul: oddly? What do you mean?

Sarah: Um,

um,

Paul: should we take a break and do some fan questions?

Sarah: We should. Although right now I'm annoyed with myself for not dragging you into that studio and doing something together. Anyway. Yes. Let's take a break and let's do some questions. We'll be right back.

We're back. We're back with fan questions. Um. Okay. Okay. I wanna start with this one because I think it's fun.

Paul: Um, I'm gonna say to fans, um, please bombard us with requests to hear Sarah's prison break song. Sorry. No, sorry, Sarah. Yeah. You we're, [00:43:00] we're never gonna get it. I know.

Sarah: Yeah. You're never gonna get it because it's, it's not good.

Like, you'd listen to it and be like, oh, that's embarrassing.

Paul: You don't get to decide that.

Sarah: Um, I do. It's my song.

Paul: I have, uh, stacks and stacks of hard drives that would tell you all my bad songs that no one will ever hear.

Sarah: I know. Um,

Paul: okay.

Sarah: So, by the way, thank you for sending your questions. Yes. Um, we do really appreciate it.

And there were a lot on this. I sort of whittled it down to a handful. So Sarah and Paul. Mm-hmm. This is from at Alicia, L-I-S-N-Y-J.

Paul: Yeah.

Sarah: Using your writer brains, give us an alternative ending. Sarah stays in Gila. Gila never runs into Kellerman in the parking lot. Mm-hmm. What happens next?

Paul: Kellerman.

Mm-hmm. Gets there looking for Sarah. Mm-hmm. I can't find her. But using his brilliant Special Forces Secret Service Brain. Mm-hmm. Does some tracking down and finds Mahome.

Sarah: [00:44:00] Ooh. And do we have an Owen Vei? Not Owen Vey. Who's the guy you left in the, well?

Paul: Yeah, I can't remember. Uh, what, uh, his name, his character's name was.

Okay. Uh, who I left in a hole. Um, but he busts him out.

Sarah: Mm-hmm.

Paul: And then they're on, then they're partners and they're on, they're chasing them both together. And Sarah and Michael bail out a Gila, Gila and rendezvous with Lincoln. And lj, and I don't know if all those in on that or not. And then it becomes a race to the border.

Sarah: I like the idea where Maho and Kellerman team up and they're like, do you hate this Kim guy? I hate this Kim guy. And they pretend that they've got, uh, Michael in custody to lure him. Mm. I love the teaming up of the two of them. Mm-hmm. And they kill Kim to get him off of their backs. Mm-hmm. [00:45:00] And I don't know what happens next.

Mm-hmm.

Paul: Oh, that's a great question though.

Sarah: It's fun, right? Yeah. Um, yeah, it's kinda awesome. Um,

Paul: I like this question too. She, I think it's also from Alicia. L-I-S-N-Y-J. And if the show was written in 2025 instead of 2005, how would Michael have sent Sarah Secret messages? I think we have Oh, interesting.

Advanced Beyond or origami. There would've been an a, um, origami app? No, an or just an origami emoji that would just come up on her phone. Um, like a paperless post.

Sarah: A paperless post. You know, I actually like the idea. Somebody told me, and I'm sure this is nonsense, but I liked it so much, I'm just gonna play like It's true.

Yeah. That the espionage community is returning to like,

Paul: oh, I would imagine

Sarah: Ditto copies, carbon copies and typewriters [00:46:00] and stuff, because. Because getting off of the sort of digital fingerprint of things Yeah. Is important. Oh yeah. I almost like the idea that, um,

Paul: that's really interesting

Sarah: that it would be super analog.

I have no idea why. This just came into my mind and I don't even know if it's possible. I like the idea of Sarah cracking an egg one day while she's cooking and out comes a little out. Oh,

Paul: that's amazing. It's not possible. It's like a, like a David Blaine. Well, David Blaine could probably do it. That's right.

Um, I like that. Speaking of analog and digital, we talked about this during the rewatch a little bit. How did Sarah know how to a car and, yeah. It's gotta be different now with, I mean, cars are basically computers, so.

Sarah: Yeah, I think so. I, you know, I actually, when I read this question when I was typing these up yesterday, I was like, how did she, I'm gonna go with Joe and I think his name is Joe.

It might have been the actor's name was Joe.

Paul: It was the actor's name was Joe. It was, it [00:47:00] was, um, oh gosh, he's in everything now. He's great. Is he from, from the flashback episode from Brothers Keeper? Yeah. The, the, the, the, your, your drug boyfriend. The drug boyfriend.

Sarah: I'm thinking she, Joe Kora. Joe Kora. Joe Kora.

There you go. Yes. I'm thinking he's the one who taught her how to hot wire a car. Yeah. Um, I think it's connected and this is, you know, I don't think that's too prejudicial. I think it's, I think it's connected to, uh, her drug use and,

Paul: yeah. I think you spend, you spend more time with a certain element, as they say.

Sarah: Mm-hmm. A certain subset

Paul: Yeah.

Sarah: Of the world. Yeah. Um, this I thought was interesting because it sort of speaks to the cadence again of the show. inalittlewhile said fans decoded the rendezvous location as early as September.

Paul: What

Sarah: for the episode that aired in November. Remember show started airing in August.

So that's weeks. [00:48:00] How surprising is this level of fan dedication? Were the writers aware of how every little detail was being dissected week after week, even without the power of streaming?

Paul: That's super impressive.

Sarah: It's

super impressive. I didn't know that until that question.

Paul: Oh, I

didn't either.

Sarah: Um. I mean, I think so Is that from the, like

from the site, from the Cipher or whatever it's called?

Yeah, I think from the, wow. I think when they zoomed in on the cranes. Um,

Paul: the dot dash, dash and all that stuff? Or is it from what Maho is circling and figuring out? I can't remember. No, because that

Sarah: was last week, so that would've been October. So if fans figured it out in September, they're ahead of Mahone They're ahead of Kellerman, they're ahead of Sara I mean, they're, they're ahead of everyone except Michael. Um, right, right, right. And I cannot imagine that the writers would've anticipated that, or I think they would've made it. And also

Paul: also, you [00:49:00] know, this is at the beginning of the overlap of the internet and

Sarah: yeah.

Paul: Uh, right. And, uh, and television. So the commun, these communities were popping up to kind of do that, share information, and

Sarah: it's the television without pity community

Paul: that is so it's the television without pity community. Yeah. That is so cool.

Sarah: By the way, it cracks me up when you do that. You push the microphone.

Just that I'm just that lazy. I just, I don't know why. I think every time I'm like, is he okay? Oh, yeah, yeah. He's doing nothing. I'm like, what's wrong? Why is my windscreen

Paul: starting to fall apart? I can't believe it.

Sarah: Um, but at, in a little while, uh, no, I don't think the writers were aware of it, but I would be willing to bet that by, I would be willing to bet that in September when someone would've called the writer's room and been like, yo, they figured it out, that they would start writing differently from that point forward.

Paul: Um, I mean, I, I don't think it's a, [00:50:00] I don't think it hurts. I mean, I think it's probably that level of. Fan involvement and interest is what you dream of as a writer. Mm-hmm. Especially when you're writing something so intricate as something like Prison Break. You want those details to count and sometimes I think you're like, eh, does anybody really care if this really matches up?

And the answer's yes, absolutely. Yes. And it totally, uh, it totally has meaning, you know, it ends up having meaning.

Sarah: And I'm actually really grateful that it did have meaning, because at the same time, lost was a year ahead of us. So we're in season two, lost would've been Season three, Uhhuh. And they had a super devoted fandom that was looking into all these Easter eggs and all these things.

And I never followed, lost really closely, but I worked with Josh Holloway for years. Ah. And he was like, that was a tough one for us because fans would do all this work and that it wouldn't always go anywhere. And they [00:51:00] would feel betrayed or like they'd wasted their time. And so I'm, I'm really glad that whoever it was in the prison break writer's room was like, let's make sure that the prop on the day

Paul: is that this is right,

Sarah: actually is tied into something.

And that we're not sort of punting kicking the can down the,

Paul: yep, yep.

Sarah: Um, okay.

Paul: Okay. Couple more.

Sarah: Um, here at Michael Schofield Turk, I reworded this a little bit because I think there was a bit of an ESL situation, Uhhuh, but I believe the question is if Paul really learned what Sarah's father had said, would he set her free or was he always going to kill her?

Maybe that's better for next week because that's a little bit ahead. I think

Paul: that's better for next week.

Sarah: Sorry. It came in. Okay. We'll, we'll hang on to it. Sorry. I'm at Michael Schofield Turk. We'll, we'll get back to you on this one.

Paul: Uh. Uh, Sarah and planet Sarah 2024. Sarah and Michael had a passionate and beloved romance on screen.

How did you navigate the [00:52:00] ad experience of fans shipping you together in real life? Did it ever feel intrusive? Did you guys find it amusing? Did it ever create any awkwardness between the two of you?

Sarah: It never created awkwardness between the two of us. I mean, it was simplified by the fact that Wentworth was gay.

Mm-hmm. Do you know what I mean? Like that the whole thing right there just felt very straightforward. Um,

I think we were both aware of the distance between what the fans said they wanted and what would actually be more satisfying in the long term.

Paul: I, I, I feel like the, sorry. Finish, finish your thought.

Sarah: No, no, no. Go ahead. What's that? I feel

Paul: like the, the, the audience, the, sorry, the questioner is also saying.

People wanted you two together in real life, that there's that thing of like, oh my God, I want David Schwimmer and Jennifer Aniston to actually fall in love. Mm-hmm.

Sarah: Do you know, [00:53:00] honestly, where I think that was helpful was that it meant that I could go to events with Wentworth Uhhuh and be his buddy and leading lady.

Yep. And it obviated a lot of questions about like, who's he dating? Mm-hmm. What's their gender? Mm-hmm. It wasn't and

Paul: kept your husband who's probably not interested in going to those things. Oh

Sarah: my god. Yeah. I, right. No, my, I mean my husband had no, yeah,

Paul: no, no.

Sarah: He's allergic to attention. Yep. Thinks Hollywood is a waste of time.

Yep. And so it solved a problem for both of us. Sure. Um. I think we both were aware of it. Mm-hmm. And kind of played with it a little bit. Sure. But it was also a way of keeping the media out of Wentworth's beeswax Yeah. At a time when, you know, he didn't want certain parts of his life to be [00:54:00] Yeah. Anything but private and, yeah.

Um, yeah. It is odd to me sometimes still on Instagram. I'll get people being like, would you marry Wentworth? And I'm like, there are so many things that you need to know before you ask that question. Like, I mean, I'm married. Yeah. Like, I, I'm not even gonna bother. Like if, if Yeah, sure. Right. Um, so, so interesting.

So interesting. Um, all right. I think maybe let's do one more of these. We may cut it, but Uhhuh because.

This one made me think about it in a different way. It's kina katherina, uh, 1926. If Sarah hadn't been in danger, would she have met Michael in Gila? It's a good question. And did Michael think she would run away with him? That's a great, even if she didn't need to

Paul: question

Sarah: it gave me a different perspective [00:55:00] because of course when he sends her those notes, he doesn't necessarily think that her life is going to be a catastrophic shit show.

Paul: Uh, I mean, he probably knows. Did he see something about her on the news or am I making that up?

Sarah: He did, but I think that's when he calls her. Okay. I think the cranes, I think at least one, if not two of the cranes he mailed, you know, like Right. They were kind of already out there in the postal system.

Right, right, right. Um. And how on earth he got them to her is a question the show never answers. You know, maybe there's somebody that he paid in Chicago to drop them in the mail. I don't know. But, um,

Paul: fascinating. Do you

Sarah: Oh, but he wouldn't have known,

Paul: like, it's interesting, like he was never part of his plan to make this all up to Sarah.

No, this is 'cause they had vibes. This is 'cause they had [00:56:00] vibes. And he also, you know, like he did with Pope, there are people that he kind of rolled over interpersonally

Sarah: Right.

Paul: To get to his goal and then felt bad about, and felt bad about. And so like, but again, it's like, how are you making this right? By taking me to Panama?

Uh, but it also does, it answers, it does answer a lot of problems for her more than he knows, I guess.

Sarah: I mean, I, I think to answer part one of that, no, I don't think Sarah would've gone.

Paul: Yeah, I don't either. If

Sarah: she didn't need to. I think if her father had lived and been like, Sarah, you're right, Lincoln is innocent.

We're gonna pursue this and the justice, and also like, you're

Paul: not gonna be in legal trouble. You can go back to your life. You can practice medicine. Like whatever that would've looked like. You're not gonna be like, yeah, I'm gonna He'll be

Sarah: exonerated. You'll be exonerated. I mean, I, I think part of what drives her to him, and I, I [00:57:00] appreciate this from the writers because it makes her look not dumb, right?

Is there really isn't another person that she can trust. Um,

Paul: that's right. She's out of options.

Sarah: She's out of options. Um, and I think it's an interesting question. Did Michael think that she would come with him if she had another option? I kind of wonder if the Michael Schofield brain says she won't come unless she's desperate.

But if she's desperate, then I can help her. Then I'm here. Do you know what I mean? Like,

Paul: kind of like she says to cra it's like, if you need this down the road,

Sarah: yeah, it's a fail safe. It's a fail. I also

Paul: think he's in love with her a

Sarah: hundred percent, but I don't think he's, as you pointed out earlier, I don't think he's gonna play the card of, I love you, please come with me.

I think it's his love language is, let me try and get you out of danger as love

Paul: language is. Paper, crane, sunglasses. [00:58:00] Sunglasses, Gila. Um, I can offer you a lifetime of adventure.

Sarah: Oh God. Um, yeah. That's really funny. Yeah. I can offer you a lifetime of adventure. Word to the wise friends. If somebody offers you a lifetime of adventure,

Paul: uh, just do a little research.

Sarah: Make sure that they can offer you also a lifetime of periodic rest safety. Yeah. Yeah. Yeah. And safety. And, and kindness. Um, wow. Because a lifetime of adventure sounds both beautiful and a little bit like a curse.

Paul: Correct.

Sarah: Um, okay. Thank you for being with us. Oh,

Paul: this is a great one. This is really today.

This might be my favorite episode yet.

Sarah: This has been fun and I'm really excited about Yes. The next episode because Yes, because it sizzles. Yeah. Also RIP, the forthcoming sadness of, um, teabags Hand. Oh, golly. Um, okay. So thank you for listening. Um, feel free, we are inviting you to subscribe to our watch parties on [00:59:00] page.

You're listening. Oh, please do

Paul: that, that, that community's hopping.

Sarah: It's super fun. And actually, I gotta say like. The Discord moderators have cultivated this really extraordinary, wonderful, uh, community that we adore. So yeah, feel free to join them. Um, you can watch us on, uh, YouTube. Yep. Maybe you already are, if you are.

Hello. Um, and that's all I have to say.

Paul: Uh, how do you join the Patreon community? Oh, it's in the show link on whatever page you're watching. Yeah. Um. And also you can go back and listen to season one 'cause the, all the translations of all the languages are there. That's right. Uh, also as well as our fan fiction.

Yes. Oh, and all the fan fiction we did so good. Um, you know what else I wanted to tell you? What's that? Is it prison breaking with Sarah and Paul? Is it Caliber Studios Productions?

Sarah: Is it, you know, and it's funny 'cause I think your hosts have been inmates, Sarah Wayne Kellys and Paul Adelstein.

Paul: Yeah. But our prison warden is.

Producer Ben Haber. So,

Sarah: and also the front men of our jailhouse rock band who does [01:00:00] not need a mirror to get through his sessions is Paul Adelstein who made all our music

Paul: and our prison your tattoo artist logo and brand designers, John Nunzio at Little Big Brands. Check them out at www little big brands.com.

Sarah: You follow us on Instagram and YouTube at Prison Break Podcast. Email us at pb podcast@caliberstudio.com, or you can call us at four oh one three p break

Paul: Prison. Breaking with Sarah and Paul has been a caliber studio production. Thank you for listening. Call me.

Sarah: Thank you for listening. Got a little punchy there towards the end.

Paul: See you next time.

Woo.