We open in a nondescript meeting room, where attorneys we don't know are standing up in turn, introducing themselves, and presenting candidates for admission to the bar. Both the reasons for this and the historical situation soon become clear as the third candidate to stand is Jimmy, with Chuck at his side to vouch for him; Jimmy turns back, as we see Kim and Ernesto (Ernesto! a truer friend to Jimmy than we knew!) seated behind them, adorably proud...Learn more about your ad choices. Visit megaphone.fm/adchoices

Kim and her full-dress ponytail crutch briskly into Lubbock, TX's City Hall, and down a noirishly lit corridor to the Department Of Building Safety's Commercial Plans Division. Asked by an auntie type if she can help, Kim breathlessly runs through a story about refiling internal plans for Mesa Verde's Lubbock branch and realizing she's not sure the correct version is on file with the city. She's brought the right proposal with her; she's hoping to compare versions and see if Lubbock has the one with the updated conference-room dimensions. The department liaison, whose name is Shirley so let's just start calling her that now, winces and says Kim can have a look, but if it's wrong, she knows she'll have to refile, right? Kim knows. She just wants to confirm Lubbock has the wrong paperwork before she gets "into it" with her bosses...Learn more about your ad choices. Visit megaphone.fm/adchoices

In what appears to be early morning light, Jimmy -- in his good old University of American Samoa sweatshirt, with a hoodie over it -- reaches into the trunk of a car and pulls out a couple of gym bags, saying he thinks he has everything, but that if he forgot something, he'll "figure it out on the way." Kim, also dressed for leisure, stands next to the car, fiddling with her keys and not quite meeting Jimmy's eye as she checks, "You're back on Thursday." "Thursday, yeah," Jimmy confirms, seeming surprised and relieved that she's addressing him at all. "Unless we break down in Amarillo," he adds with a smile she does not return, instead making a Kimface and nodding. When he comes around to where she's standing, she quickly moves to close the trunk, but Jimmy proceeds nonetheless: "Kim, I want you to know, I don't take this for granted. It means a lot." Clearly, the answer Jimmy's hoping for -- if not expecting -- is something along the lines of "Don't mention it" or "You'd do the same for me" or "It's a small thing to ask of someone who loves you"...Learn more about your ad choices. Visit megaphone.fm/adchoices

Fade up on the lefthand side of a split screen, Kim and Jimmy companionably brushing their teeth. Kim spousily holds out her brush for paste and Jimmy just as spousily pastes it. The righthand side of the screen fades up on the same tableau, but on a different day, with Kim in a different tank top, and although it certainly is not a Bring It On homage, as it is not blocked the same way and contains none of the same elements save a blonde actor, I will enjoy the referent memory regardless...Learn more about your ad choices. Visit megaphone.fm/adchoices

Where last week's cold open catapulted us into Saul's future, this one sends us into Jimmy's past: he's wheeling his mail cart around HHM and kibitzing with the cubicle personnel as he collects their cash and Oscar pool ballots. One woman named Clara has voted a straight Howards End ticket, so (a) it's 1993, and (b) I admire her passion, if not her strategy. "I just love Emma Thompson," she effuses. "Who doesn't?" says Jimmy amiably. "She's so pragmatic!" Clara adds. WHAT A STRANGE THING TO ADMIRE, OH WELL PROBABLY DOESN'T MEAN ANYTHING. At a hallway junction, Jimmy crosses paths with Kim, who at this point in her career is pushing a cart as well; she's also helping Jimmy collect ballots and money, and hands over everything she's picked up from the second floor -- including from an apparently notorious holdout named Chloe. Jimmy's about to go to the third when she tells him she's already done it. "You know you're making the rest of us look bad," Jimmy jokes. Kim notes that he doesn't have to stop at every cubicle to chat, but Jimmy says, "It's called being friendly? It's great for morale?" "It is great for wasting time," she shoots back. She's so pragmatic. Jimmy doesn't disagree; Kim reminds him that discovery on the Cordero case is coming in, so he should get on the stick. Before Jimmy can answer...Learn more about your ad choices. Visit megaphone.fm/adchoices

As the machine chews up critical evidence in Saul Goodman's office -- because that's where we are -- we see a collage of the aftermath of the beatdown Saul got from Jesse Pinkman in Breaking BadS05.E11, "Confessions." (I think? As I've mentioned in previous recaps, it's five years since those episodes ran, and as a straight viewer of Better Call Saul, I tend to just enjoy the show in its own timeline and not care about cross-checking it against Breaking Bad eps. As a recapper, well, here I am, caring, but if my research doesn't line up, hit me in the comments.) Saul's multiple cell phones, an open safe, scales of justice and faux pillars and marketing matchbooks scattered about…the place is a mess, and Saul is grunting as he tries to shift a tile in the dropped ceiling. Eventually he succeeds, and a bowling bag full of cash drops into the office. Saul exults that "it's" all still there. "Meaning what, exactly?" a mid-shred Francesca asks. Saul lamely gabbles something about rodents nesting in it. Francesca makes her customary "k, weirdo" face.Learn more about your ad choices. Visit megaphone.fm/adchoices

Our cold open is...possibly instructive and thus servicey to homeowners? We watch as, very methodically, a man we don't see frames out a square and then mixes, pours, and smooths out concrete in it. We keep getting cuts back to a little blond boy watching this whole process, and inasmuch as he's not in, like, a Go-Bots t-shirt or something, it's hard to tell when this is, though the AM Gold on the soundtrack and the look of a nearby car suggest the '70s. That this guy hasn't found even one little BS task to give the kid and make him feel like he's helping is a hint as to the kind of person he is -- though maybe the kid is hanging around because he wants to make sure he's right there when the concrete is perfectly smooth, so that the man doesn't change his mind before giving the kid a stick and letting him write his name in it.Learn more about your ad choices. Visit megaphone.fm/adchoices

The desert. A spiky lizard mounts a rock to observe skeptically as a makeshift spike strip is dragged across some isolated blacktop. A pair of black boots stalks over to a grey Chevelle, reverses it, throws it in drive, and floors it. It's a little hard to tell who's driving or why this is happening at this juncture, so let me save you the suspense -- the boots belong to Victor, and the Chevelle's doomed affair with the spike strip……belongs to Gus Fring, as it were, in the service of selling an alternate version of Arturo's demise that will allow Gus to manipulate Los Salamanca into destroying themselves while not implicating him. The explosion that ends that plan is, in this universe, years in the future; the explosion that ends the Chevelle's tires will have to do for now, and it's properly epic, with sparks flying and hubcaps jouncing away into the desert. The car comes to a stop on its rims on the shoulder, and Victor and his fingerprint-avoidant gloves get out as, in a black SUV, a similarly gloved hand reaches out the passenger-side window to scatter handfuls of shattered auto glass every few feet. Victor is smoking as the SUV approaches the Chevelle, and we're pointedly shown his stubbing out his butt and kicking it away, like, if you're taking such pains with every other aspect of this diorama, maybe pack out the piece that has DNA on it?Learn more about your ad choices. Visit megaphone.fm/adchoices

We begin with some very moody closeups of a hospital room by night, which are soothing right up until THE CLOSEUP OF A LIGHT GETTING SHINED RIGHT INTO AN EYE. Oh my god, I'M AWAKE! JESUS! The patient whose eye is being assaulted is, of course, Hector Salamanca, and whoever's interfering with him moves on from the eye to a check, with a gloved hand, of Hector's lower teeth, fingertips, and feet, the last of which don't respond to the instrument this consultant rolls up the Don's soles. With Victor posted up in the shadows by the door, the consultant -- who turns out to be Dr. Goodman, last seen in Season 3 -- stands out of sight as he reads Hector's chart by flashlight, snapping it off when Victor silently signals by raising two fingers at him as a couple of guys in scrubs pass in the hall. When they've gone, Dr. Goodman returns to the chart, looking from it to Hector to a figure standing in the parking lot below...Learn more about your ad choices. Visit megaphone.fm/adchoices

The voice of a meteorologist expositing that Palmetto is bracing for Hurricane Ignacio. Then there's a break from format that, depending on your preferences, you will compare favorably or not to the one in "Scream," as a secondary character supplies our narration; this time, it's Virginia. "I don't know where I am, but I can see everything," she says, Sunset Boulevardily. "Remember everything." As she speaks, we get hurricane b-roll intercut with shots of Desna and Gregory, engaged in hand-to-hand combat in a dark hotel room. "Everything that led up to what happened," Virginia VOs. She used to love storms when she was little, because she thought everything would be different when they were over: "Everything sure feels new now, after Desna's big day. Her fairy tale. Except that was all a lie." BITCH, WE'VE BEEN KNOWING. The montage then brings us shots of the happy bride and groom at various points during the wedding. Virginia's still not sure how she feels about the ending of Desna's fairy tale: "But we're not there yet, so we might as well start at the 'once upon a time.'"Learn more about your ad choices. Visit megaphone.fm/adchoices