Over the course of 19 episodes, the first season of 24 came up with some very neat twists (the fake Alan York being the obvious front-runner). Few of those (and plot turns from later years too), however, could beat the twentieth hour's biggest revelation in sheer audacity and brilliance.
It is quite fitting that such a shocker occurs in this show, the most claustrophobic of the season: a large part of it takes place in an underground detention center. This place was found by Jack, who's now interested in uncovering the identity of the only prisoner in the facility, a mysterious man whom Andre Drazen wants to either set free or kill. Back in Los Angeles, Teri, now aware of her identity, is taken to CTU after she was attacked in her own house, Kim fails to convince the DEA she isn't a criminal, and David Palmer realizes his marriage has reached the point of no return.
Given events take place late in the evening, the outside darkness adds to the tense mood, which is increased by the slow disruption of Palmer's affections for his wife: with Haysbert quietly solemn and Johnson furiously determined, their discussion on allegiance and honesty comes close to stealing the limelight from Jack's misadventures; fortunately, that doesn't happen, thanks to Sutherland's sweaty intensity, the startling revelation of the prisoner's identity and a cliffhanger ending ("They're coming.") that's as hair-raising as they come.
It is quite fitting that such a shocker occurs in this show, the most claustrophobic of the season: a large part of it takes place in an underground detention center. This place was found by Jack, who's now interested in uncovering the identity of the only prisoner in the facility, a mysterious man whom Andre Drazen wants to either set free or kill. Back in Los Angeles, Teri, now aware of her identity, is taken to CTU after she was attacked in her own house, Kim fails to convince the DEA she isn't a criminal, and David Palmer realizes his marriage has reached the point of no return.
Given events take place late in the evening, the outside darkness adds to the tense mood, which is increased by the slow disruption of Palmer's affections for his wife: with Haysbert quietly solemn and Johnson furiously determined, their discussion on allegiance and honesty comes close to stealing the limelight from Jack's misadventures; fortunately, that doesn't happen, thanks to Sutherland's sweaty intensity, the startling revelation of the prisoner's identity and a cliffhanger ending ("They're coming.") that's as hair-raising as they come.
