Cell Test
- Episode aired Aug 31, 2006
- TV-14
- 43m
Two steps forward and one step back. Michael gets Abruzzi on his side and proves Sucre's trustworthiness, but then loses a valuable piece of his plan.Two steps forward and one step back. Michael gets Abruzzi on his side and proves Sucre's trustworthiness, but then loses a valuable piece of his plan.Two steps forward and one step back. Michael gets Abruzzi on his side and proves Sucre's trustworthiness, but then loses a valuable piece of his plan.
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In "Cell Test", Michael reaches his intent of approaching to Abbruzzi but loses two toes. Veronica is near to discover the truth, but the poor Leticia is reached by the despicable agent Paul Kellerman. Lincoln's son seem to be connected with his father, and in the end, the only thing that matters is love. My vote is seven.
Title (Brazil): "Teste do Celular" ("Cell Test")
Also going on inside, LJ is compelled to visit his death-row father as part of a diversion programme after he's busted attempting to traffic a (presumably) misdemeanour quantity of the green stuff in a rather lazily handled and wholly unrealistic sub-plot. It's amazing the pace at which the bureaucracy moves in this series, the events unfolding in a matter of just a few days which is extremely convenient given the imminent execution. It does enable Linc and LJ the opportunity to reconnect however, and we begin to see the bond forming that will become more crucial from a plot perspective later-on.
Outside of the big house, Veronica is becoming more concerned that Lincoln might actually be innocent when she's approached by the former girlfriend (Porter) of his drug-dealing associate, who's become a paranoid, insecure hermit convinced that sinister forces are out to get her.
This episode ends better than it begins, and in a lot of ways is an inflexion point for many of the characters as they begin to check their positions in the rapidly escalating conspiracy.
The dynamic between Michael and Lincoln continues to be one of the episode's strongest aspects. Lincoln, driven by impulsiveness and a desire to protect his brother, constantly needs to be reined in by Michael, who-even injured-keeps his cool and stays focused on the bigger picture. The revelation that Abruzzi is a key piece in the escape, thanks to his connections with a charter flight company, adds an interesting layer to their relationship, where manipulation and mutual interest need to be played with extreme caution. Michael is willing to endure physical abuse, but he keeps Abruzzi in check by dangling valuable information, showcasing his resilience and strategic mind.
This episode also brings some great development for Sucre, who faces a tough moral dilemma. Michael's loyalty test-planting a fake cell phone to see if Sucre would betray him-is one of the most intriguing moments of the episode. Sucre's reaction after realizing he was being tested, choosing to distance himself from Michael and request a cell transfer, adds a strong emotional layer to the story. His motivation, centered around his fiancée Maricruz and his desire to get out the right way, shows that not everyone in Fox River is willing to risk it all for a seemingly insane plan. This cell change ends up creating a new challenge for Michael, as he now has to deal with a new cellmate from the psych ward-an element that adds even more uncertainty and danger to the escape plan.
The ticking clock is another factor that weighs heavily in the episode, with Michael admitting they're three days behind schedule-leaving almost zero room for error. The sense of urgency is palpable, and every small delay or shift in character dynamics adds even more tension to the plot. The show nails the balance between character development and the progression of the escape plan, keeping the audience constantly engaged and eager to see how Michael will navigate each new obstacle.
Outside the prison, Veronica keeps digging deeper into the case, facing increasingly personal challenges, including the end of her engagement. The external storyline adds more mystery and conspiracy to the overall plot, reinforcing the idea that escaping Fox River is just one piece of a much bigger puzzle. Lincoln's decisions regarding his family-especially his tough conversation with LJ about being present at the execution-bring an emotional weight that adds more depth to his character.
Visually, the episode sticks to the prison's oppressive and claustrophobic aesthetic, with tight camera angles and a dark color palette that enhances the feeling of confinement and desperation. The direction does a great job of building silent tension, especially in Michael's interactions with his new cellmate, where just a simple exchange of glances is enough to create an unsettling atmosphere.
Overall, this episode continues the show's impeccable build-up of suspense and tension, with complex characters and a script that keeps the audience on the edge of their seats. Every decision carries consequences, and the series does an excellent job of showing how even the smallest actions can put the entire plan at risk, making Michael's journey even more thrilling.
Did you know
- TriviaThere are two random Beatles references in this episode. John Abruzzi remarks that 'Maybe The Beatles were right, maybe "All You Need Is Love" and then in the next scene Michael Scofield tells Sucre, as he is packing to move cells, "We Can Work It Out" - both of which are songs recorded by The Beatles.
- GoofsWhen Michael is brought into the infirmary after his toes are cut off, he covers his face and starts crying. In the next shot he does the same thing all over again.
- Quotes
Dr. Sara Tancredi: [Cut to Fox River infirmary. Sara tends to Michael's bandaged foot] No redness or swelling, so there's no sign of infection. I'm going to keep it on antibiotics for the next ten days. You should be good!
[She stands up]
Dr. Sara Tancredi: Michael you understand by law I'm obligated to file a report if I feel there's been prisoner misconduct. There's no way this injury happened by stepping on a blade in a garden shed.
[Michael pulls on his sock]
Michael Scofield: If you file the report, things could get a lot worse for me.
Dr. Sara Tancredi: They're not already?
Michael Scofield: Not compared to what they could be.
[He looks down]
Michael Scofield: I've made some enemies.
Dr. Sara Tancredi: Yeah. Scared?
[Michael doesn't say anything]
Dr. Sara Tancredi: Man enough. Okay.
[Michael smiles and laughs softly]
Dr. Sara Tancredi: Um, here's what I think. I think you are scared, and you wouldn't be human if you weren't scared in a place like this.
Michael Scofield: When I was young, I couldn't sleep at night.
[He finishes tying his shoe]
Michael Scofield: Because I thought there was a monster in the closet.
[Sara smiles]
Michael Scofield: But my brother told me there wasn't anything in the closet but fear. And fear wasn't real. He said it wasn't made of anything, it was just
[he pauses]
Michael Scofield: air. Not even that. He said you just have to face it. You just have to open that door, and the monster would disappear.
Dr. Sara Tancredi: Your brother sounds like a smart man.
Michael Scofield: He is. In here though, you face your fear. You open that door, and there's a hundred more doors behind it. And the monsters that are hiding behind them, are all real.
Dr. Sara Tancredi: If you want, I could recommend you be sent to AdSeg.
Michael Scofield: [Smiling bluntly] With the rape victims and the snitches.
[He stands up]
Dr. Sara Tancredi: It would keep you safe.
Michael Scofield: Thanks. But I think I'd like to face the monsters on my own.
[He walks out]
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Composed by Ramin Djawadi
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